Artigos de revistas: "Joyce, James. Finnegans Wake"

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O’Sullivan, Michael, e Oi Lin Irene Yip. "Finnegans Wake by James Joyce". James Joyce Quarterly 50, n.º 4 (2013): 1095–99. http://dx.doi.org/10.1353/jjq.2013.0047.

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Staley, Tom. "Finnegans Wake by James Joyce". James Joyce Quarterly 52, n.º 2 (2015): 429–31. http://dx.doi.org/10.1353/jjq.2015.0012.

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Pereira Rodrigues Borges, Guilherme. "Critical Review: Finnegans Wakes: Tales of Translation (2022), by Patrick O’Neill". Belas Infiéis 12, n.º 1 (28 de março de 2023): 01–10. http://dx.doi.org/10.26512/belasinfieis.v12.n1.2023.43419.

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Esta resenha aborda o livro Finnegans Wakes: Tales of Translation (2022), de Patrick O’Neill, que discorre sobre a história internacional das traduções do romance Finnegans Wake (1939), de James Joyce (1882-1941). O’Neill apresenta e analisa todas as 16 traduções completas publicadas dessa obra e também as numerosas traduções parciais para diversas línguas. Com capítulos organizados por décadas e por línguas específicas, o livro abarca desde os anos de 1930 até os anos de 2020, abordando os esforços iniciais de tradução de trechos de Finnegans Wake antes mesmo de sua publicação completa em 1939 e também apresentando as traduções atualmente em andamento e com previsão de publicação para os próximos anos. O autor demonstra, com vários exemplos, que o processo tradutório de Finnegans Wake envolve transformação e expansão, em vez de reprodução ou clarificação.

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De Lima, Paolo. "Finnegans Wake. Una lectura anotada de cuatro capítulos (2021)". En Líneas Generales, n.º 007 (4 de agosto de 2022): 109–13. http://dx.doi.org/10.26439/en.lineas.generales2022.n007.5933.

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Oliveira, Leide Daiane De Almeida, Larissa Ceres Lagos e Giovana Beatriz Manrique Ursini. "Entrevista com Donaldo Schüler". Cadernos de Tradução 39, n.º 2 (28 de maio de 2019): 294–304. http://dx.doi.org/10.5007/2175-7968.2019v39n2p294.

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Esta é uma entrevista realizada recentemente com o escritor e tradutor Donaldo Schüler. Ele é professor emérito em Língua e Literatura grega da UFRGS, além de ser poeta e ensaísta. Sua carreira como tradutor conta com traduções de tragédias gregas, a Odisséia de Homero e Finnegans Wake de James Joyce. Sua tradução da última obra de Joyce lhe rendeu o prêmio Jabuti em 2004. É principalmente sobre sua experiência como tradutor de Finnegans Wake, um dos livros mais desafiadores da literatura ocidental, que essa entrevista se propõe dedicar maior atenção.

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Senn, Fritz. "HOW JAMES JOYCE TRANSLATES HIMSELF". Cahiers du Centre de Linguistique et des Sciences du Langage, n.º 38 (17 de novembro de 2013): 123–36. http://dx.doi.org/10.26034/la.cdclsl.2013.747.

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The article shows, in concrete examples, how Joyce’s works, in particular Ulysses and Finnegans Wake, do in fact translate some of their material internally. This does not only happen to foreign phrases when rendered into English, often with humorous side effects, but also on a large scale. It is characteristic of Joyce’s Ulysses that it metamorphoses itself into various distinct shapes, styles, modes, perspectives that are often magnified into parodies, so that almost each episode is highly idiosyncratic and so easily identifiable. The double nature of the English vocabulary (basic Germanic elements alongside those derived from Latin) is exploited to the utmost. Joyce also highlights the Gaelic substratum that shows in the elaborate use of Hiberno-English. Finnegans Wake obviously translates its own features at almost every turn and so expands linguistic borders. Certain phrases and passages, moreover, can literally be read or heard as English as well as French, German, Spanish or more remote languages. In his multiple transformations Joyce may well be the most Irish of all writers as well as the least Irish and most cosmopolitan.

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Guimarães, Dinara G. Machado. "Cerzimento literário de James Joyce - Psicanálise e literatura". Eutomia 1, n.º 21 (20 de novembro de 2018): 269. http://dx.doi.org/10.19134/eutomia-v1i21p269-279.

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O “Cerzimento Literário de James Joyce - Psicanálise e Literatura”, a partir do “Retrato do Artista quando Jovem” (A portrait of the artist as young man) que se inscreve na origem de tudo o que vai acontecer de Ulisses até o Finnegans Wake, onde “James Joyce acaba por se fazer um nome como autor-artífice do significante que o representa por sua obra.

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Amarante, Dirce Waltrick do. "Joyce para crianças brasileiras". Cadernos de Literatura em Tradução, n.º 9 (1 de agosto de 2008): 17–25. http://dx.doi.org/10.11606/issn.2359-5388.i9p17-25.

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A ficção do escritor irlandês James Joyce chega às crianças brasileiras por meio da tradução de seu único conto infantil, “O Gato e o Diabo”, feita por Antonio Houaiss, que assina a primeira versão brasileira de Ulisses (1922), e da ousada adaptação infantil de Finnegans Wake (1939), seu último e volumoso romance.

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Galindo, Caetano Waldrigues. "Traduzir o Finnegans Wake, paradoxos e liberdades". Domínios de Lingu@gem 11, n.º 5 (21 de dezembro de 2017): 1517. http://dx.doi.org/10.14393/dl32-v11n5a2017-7.

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Resumo: este texto pretende apresentar uma visão das possibilidades de tradução do último romance de James Joyce a partir de uma visada que o considera como obra (e concepção linguística) que ultrapassa a distinção entre prosa e poesia e, consequentemente, entre a tradução de uma e de outra.

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Cahya Viantara, A. Dwita. "The Role of Ambiguity in Finnegans Wake". JISHUM : Jurnal Ilmu Sosial dan Humaniora 2, n.º 4 (21 de junho de 2024): 505–16. http://dx.doi.org/10.57248/jishum.v2i4.418.

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Finnegans Wake karya James Joyce berdiri sebagai salah satu teks yang paling misterius dan menantang dalam sejarah sastra, ditandai dengan bahasanya yang padat, struktur inovatif, dan segudang referensi. Penelitian ini mengeksplorasi sifat beragam interpretasi dan keterlibatan pembaca dengan novel yang berjudul Finnegans Wake. Dengan mengkaji kompleksitas linguistik novel, termasuk penggunaan permainan kata-kata multibahasa dan neologisme, penelitian ini berupaya mengungkap bagaimana elemen-elemen ini berkontribusi terhadap tantangan penafsiran yang dihadapi pembaca. Selain itu, penelitian ini menyelidiki peran ambiguitas dan polisemi dalam membentuk pengalaman dan interaksi pembaca dengan teks. Melalui analisis terperinci atas bagian-bagian terpilih dan tinjauan terhadap berbagai pendekatan kritis, penelitian ini menyoroti interaksi dinamis antara teks dan pembacanya. Penelititan ini juga menunjukkan bahwa Finnegans Wake tidak hanya menuntut partisipasi aktif pembaca, tetapi juga menawarkan bentuk keterlibatan sastra unik yang melampaui pemahaman naratif konvensional. Penelitian ini bertujuan untuk memberikan wawasan baru mengenai strategi interpretasi yang dapat digunakan untuk menavigasi karya Joyce yang begitu kompleks, sehingga memperkaya keterlibatan dan apresiasi pembaca terhadap novel tersebut.

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Osejo Brito, Esmeralda. "Finnegans Wake: Beyond the Limits of Translation". Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, n.º 4 (11 de agosto de 2021): 86–103. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2021.4.1483.

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Many deem James Joyce’s Finnegans Wake an untranslatable novel. Despite this, the characteristics that appear to obscure its meaning, such as semantic multiplicity and experimental syntax, also make it particularly open to interpretation and resignification—thus, to translation. The present paper proposes a flexible, creative, playful, and free approach to its translation. I discuss the possibilities derived from such an approach through the analysis and translation of fragments of Finnegans Wake into Spanish, and I support this approach to the translation process with some of the most prominent research on the translations of Joyce’s works, up to date scholarship from Translation Studies, and relevant testimonies from Joyce himself and from translators and writers who have studied his literary production. I argue that Finnegans Wake is a text that tries to capture language itself, transcends linguistic barriers by resisting rigidity of meaning, and achieves an “openness” and freedom that, paradoxically, have somewhat limited the efforts to translate it. Therefore, I propose that if Joyce did not limit himself in his creative process, it is necessary that we, as readers and translators, accept without fear the challenges presented to us by Finnegans Wake and dare to create new art from it.

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Gontarski, S. E. "Wilder’s Joyce: Inspiration, Borrowing, Appropriation, Plagiarism". ABEI Journal 25, n.º 1 (15 de junho de 2023): 29–46. http://dx.doi.org/10.11606/issn.2595-8127.v25i1p29-46.

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American novelist and playwright Thornton Wilder’s lifelong attraction to and passion for if not obsession with the work of James Joyce has led to unintended consequences. Wilder was writing what would become his second Pulitzer Prize winning play, The Skin of Our Teeth, while in the midst of “unriddling” Joyce’s final novel, Finnegans Wake. Accusations of plagiarism would subsequently arise from two major Joyce scholars, Joseph Campbell and Henry Morton Robinson as they raised questions about the tipping point in creative practice, the point at which common practices of textual influence and reference cross the line into excessive borrowings and plagiarism. Such accusations, which Wilder failed to acknowledge and to fully address in a timely fashion, have lingered to his discredit and have obscured his achievements both as a playwright and a major scholar of experimental literature with a particular emphasis on James Joyce. The essay details the need to return to and to reassess the issues of Wilder’s creative practice within the current theoretical climate of intertextuality and thus to reassess Wilder’s pioneering work on both Ulysses and Finnegans Wake.

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Galindo, Caetano Waldrigues. "Pode o intraduzível traduzir-se. Deve." O Eixo e a Roda: Revista de Literatura Brasileira 27, n.º 3 (21 de dezembro de 2018): 11–28. http://dx.doi.org/10.17851/2358-9787.27.3.11-28.

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Resumo: A partir da situação de obras-limite como Grande sertão: veredas, de Guimarães Rosa (e o Finnegans Wake, de James Joyce, por exemplo) o texto apresenta um argumento em favor da traduzibilidade da literatura como tal e, especialmente, das obras literárias mais radicais, propondo inclusive que essa sua radicalidade torna ainda mais central sua condição de “traduzíveis”. Ao longo de uma comparação entre obras literárias, musicais e pictóricas, e seus diferentes conceitos de original e reprodução, o texto sustenta que a reprodutibilidade é por necessidade corolário da base linguística da literatura, o que acarreta a traduzibilidade necessária como premissa menor, derivada, e, portanto, quase inquestionável.Palavras-chave: traduzibilidade; experimentalismo; Grande sertão: veredas; Finnegans Wake.Abstract: From the situation of such radical works as Grande Sertão: Veredas, by João Guimarães Rosa (and Finnegans Wake, by James Joyce, for instance) this paper argues in favor of the translatability of literature as such and, most specially, of the more avant-garde works of literary art, whose radical position makes their translatability even more necessary. After comparing works of literature, music and painting, and their different ideas of originality and reproduction in each of these fields, this paper argues that this reproducibility is a natural consequence of the linguistic basis of literature, which entails this translatability as a minor premise, a second-order premise, which is, as such, unquestionable.Keywords: translatability; experimentalism; Grande sertão: veredas; Finnegans Wake.

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Nisbet, Rachel. "James Joyce's Urban EcoAnarchism // El ecoanarquismo urbano de James Joyce". Ecozon@: European Journal of Literature, Culture and Environment 7, n.º 2 (25 de outubro de 2016): 10–28. http://dx.doi.org/10.37536/ecozona.2016.7.2.860.

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In this paper I contend James Joyce invests Finnegans Wake’s river-woman Anna Livia Plurabelle with the agency to reconnect Dublin’s inhabitants to the environs that resource their urban ecology. In early twentieth-century Dublin, Nature retained the fearsome power of Giambattista Vico’s thunderclap. Regular typhoid outbreaks contributed to increased infant mortality rates in the inner city; and, as Anne Marie D’Arcy observes, the River Liffey delta could not absorb the raw sewerage discharged from the city’s wealthy coastal townships, so this washed upriver, offering the ideal conditions for typhoid’s parasitic bacterium to multiply. There is no place for the Romantic sublime in such a setting. Yet Finnegans Wake nurtures the hope that Dubliners might remediate their city’s urban ecology. Anna Livia “gifts” the city three key means to this end: birth control to limit population growth, an uprising of the poor to redistribute wealth, and gout to curb greed and thus reduce natural resources consumption. While these steps might initiate the beginning of an egalitariansociety in Dublin, they require the city’s inhabitants to gain a heightened consciousness of their actions. With such a revolution, recalling Peter Kropotkin’s EcoAnarchism, played out on an intergenerational timescale, urban Dublin could regain equilibrium with the environs that sustain it, countering the global phenomenon of the ‘Great Acceleration’. Reading the Wake as ecoanarchism is one approach to discover that, like his fictional alter-ego Stephen, Joyce seeks to change the urban ecology of Dublin by pricking the conscience of generations of readers who enjoy the privileges of education, and contemplation. Resumen Este trabajo argumenta que James Joyce otorga a Anna Livia Plurabelle, la “mujer del río” de Finnegans Wake’s el poder para reconectar a los habitantes de Dublín con los alrededores que forman su ecología urbana. En el Dublín de principios del siglo veinte, la naturaleza retenía el poder aterrador del trueno de Giambattista Vico. Brotes frecuentes de fiebre tifoidea contribuían al aumento de la tasa de mortalidad infantil en el centro de la ciudad, y, como destaca Anne Marie D’Arcy, el delta del río Liffey no podía absorber las aguas residuales que venían de los ricos municipios costeros, así que ésta subía a contracorriente, creando las condiciones óptimas para el desarrollo de la bacteria que produce la fiebre tifoidea. No hay lugar para el concepto de lo “sublime” del Romanticismo en este escenario. Sin embargo, Finnegans Wake de Joyce alimenta la esperanza de que los dublineses quizá puedan remediar la ecología urbana de su ciudad. Anna Livia ofrece a la ciudad tres claves al respecto: métodos anticonceptivos para disminuir el crecimiento poblacional, el levantamiento de las clases pobres a fin de exigir la redistribución de la riqueza, y la gota para contener la codicia y de ese modo reducir el consumo de recursos naturales. Aunque estos pasos tal vez iniciarían el principio de un Dublín más justo y equitativo, requerirían que los habitantes de la ciudad fueran más conscientes de sus acciones. Con esta revolución, evocando el ecoanarchismo de Peter Kropotkin y aplicándolo a una escala de tiempo intergeneracional, el Dublín urbano podría recuperar el equilibrio con los alrededores que lo mantienen, contrarrestando el fenómeno global de la “Gran Aceleración”. Leer Finnegans Wake desde el punto de vista del ecoanarquismo es una forma de descubrir que, como su álter ego Stephen, Joyce busca cambiar la ecología urbana de Dublín, apelando la conciencia de generaciones de lectores que disfrutan los privilegios de la educación y de la contemplación.

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Nodari, Janice Inês. "Uma aplicação da teoria do gato de Shrödinger para entender o apocalíptico e contemporâneo Finnegans Wake?" Cadernos de Tradução 38, n.º 3 (12 de setembro de 2018): 183–204. http://dx.doi.org/10.5007/2175-7968.2018v38n3p183.

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O texto a seguir propõe uma aplicação da Teoria do Gato de Shrödinger, da mecânica quântica, na compreensão e tradução de um trecho da obra Finnegans Wake de James Joyce. Para que este exercício pudesse ser feito, encontramos respaldo na noção de obra aberta (ECO, 2010) e na compreensão de que a referida obra de Joyce é um texto contemporâneo (AGAMBEN, 2009), resultado possível da errância (OLIVIERI-GODET, 2010) do autor.

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Yee, Cordell D. K. "Fennigen de Shouling Ye (Finnegans Wake) by James Joyce". James Joyce Quarterly 51, n.º 1 (2013): 204–10. http://dx.doi.org/10.1353/jjq.2013.0091.

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Witen, Michelle. "David Norris Reads from “Finnegans Wake by James Joyce". James Joyce Quarterly 55, n.º 3-4 (2019): 475–77. http://dx.doi.org/10.1353/jjq.2019.0019.

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Attridge, Derek. "James Joyce: The Finnegans Wake Notebooks at Buffalo (review)". Modernism/modernity 10, n.º 3 (2003): 571–73. http://dx.doi.org/10.1353/mod.2003.0049.

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Del Conde, Teresa. "James Joyce y Lucia Joyce, Samuel Beckett, Carl Gutsav Jung y el Wake". Anales del Instituto de Investigaciones Estéticas 1, n.º 103 (10 de dezembro de 2013): 141. http://dx.doi.org/10.22201/iie.18703062e.2013.103.2503.

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Este ensayo plantea, dentro de un medio en el que las investigaciones lingüísticas tuvieron un auge sobre todo con el dadísmo, la posible influencia de Lucia Joyce en el Finnegans Wake, la obra póstuma de James Joyce. El ensayo crítico detecta con lucidez y sensibilidad los juegos de palabras a los que se abre la prosa abundante del Wake, mostrando así el enorme potencial asociativo de vocablos en el proceso mismo de la lectura y su reflejo en el intento de traducción que realizara el escritor mexicano, Salvador Elizondo. Además pone al descubierto el papel que desempeñaron personas allegadas a los Joyce como Samuel Beckett y Carl Gustav Jung. De esta forma, la trama constituye un complemento y revisión de la biografía de Carol Loeb Schloss.

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Pop, Iuliana. "Vico’s Thunderous Echoes: The New Science and Finnegans Wake". East-West Cultural Passage 23, n.º 1 (1 de junho de 2023): 24–36. http://dx.doi.org/10.2478/ewcp-2023-0003.

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Abstract The strandentwining intertext of Finnegans Wake both obscures and unveils meaning. The cultural ramifications of James Joyce’s intertext, however, run deep, as he subjects the relevant intertexts to subsequent rewritings in order to multiply meaning. In such context, intertextuality in itself can be likened to a translation, whereby otherness is adapted into a literary space to enable the construction or reconstruction of new significance, thus facilitating a far-reaching cross-cultural dialogue; both author and readers, in turn, assume the role of poeta doctus and litteratus doctus, respectively. Accordingly, the intertexts Joyce has sewn into the text are in constant transformation both via their medium and their audience, as is the case with the Viconian intertext. Giambattista Vico’s The New Science was carefully integrated by Joyce into Finnegans Wake1 and adapted to Irish society; Vico’s philosophical thought, which permeates the Wake, provides structure and enables the layering of intertextual units, thus multiplying significations and intended meanings. Vico’s theories on language and history enable diachronic and anachronic explorations within the Wake, as well as a simultaneous existence of different systems of thought. Joyce’s use of the thunderwords as a primal linguistic expression, coupled with his creative cultural exploits and the systematic structuring of the Wake find their origin in Vico’ The New Science.

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Waltrick do Amarante, Dirce. "“A letra! O lixo!”: os desafios de traduzir James Joyce". Cadernos de Tradução 42, esp. 2 (29 de dezembro de 2022): 1–16. http://dx.doi.org/10.5007/2175-7968.2022.e92161.

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Em Finnegans Wake (1939), de James Joyce, uma galinha chamada Belinda cisca dejetos numa lixeira e, no meio do lixo, ela encontra uma carta (A letter! A litter). Trata-se de uma carta escrita por Anna Livia Plurabelle, a protagonista de romance, cujo conteúdo pode salvar a reputação de seu marido Humphrey Chimpden Earwicker (HCE). Contudo, essa carta, bicada pela galinha e imunda, está praticamente ilegível. Essa carta simbolizaria o próprio romance e desvendar o seu conteúdo é o objetivo das personagens e, diria, dos leitores. É possível, contudo, “desvendar” apenas uma parte dela, não o todo. Residiria aí também uma reflexão sobre leitura, a leitura de literatura que está sempre em construção ou que é fragmentária. Em Finnegans Wake o tradutor terá que lidar com a essa construção fragmentária e com “fragilidade” da informação estética e, por isso, é necessário que ele tenha domínio da língua de chegada para poder manter essas características na tradução, as quais se alcançaria por intermédio da recriação.

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De Moura, Cleberson Henrique, Alex Da Silva Martire e Vinicius Marino Carvalho. "James Joyce e arqueologia". Semina - Revista dos Pós-Graduandos em História da UPF 21, n.º 1 (23 de junho de 2022): 168–81. http://dx.doi.org/10.5335/srph.v21i1.13692.

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No centenário da publicação da obra Ulysses de James Joyce, um clássico do romance do século XX, o grupo de pesquisa ARISE (Arqueologia Interativa e Simulações Eletrônicas) do Museu de Arqueologia e Etnologia da Universidade de São Paulo (MAE-USP) apresenta, como parte de projeto que consiste em uma série de entrevistas com especialistas em Arqueologia e áreas correlatas - como é o caso desta entrevista - uma entrevista com o professor doutor Caetano Waldrigues Galindo da Universidade Federal do Paraná (UFPR), escritor, tradutor e um dos maiores especialistas das obras de James Joyce do mundo, na qual conversamos sobre possíveis relações a serem estabelecidas entre as obras de James Joyce e a Arqueologia. Nesta entrevista, o professor Galindo dá ênfase para a obra Ulysses em suas respostas, mas discorre também sobre outras importantes obras joyceanas, tais como Um retrato do artista quando jovem, Dublinenses e o indecodificável Finnegans Wake articulando-os com conceitos bastante caros à Arqueologia tais como memória, cultura material, agência dos artefatos, entre outros.

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Ruggieri, Franca. ""Finnegans Wake" Libro Terzo, Capitoli 1 E 2 (Finnegans Wake III, 1-2), by James Joyce". James Joyce Quarterly 52, n.º 3-4 (2015): 730–33. http://dx.doi.org/10.1353/jjq.2015.0046.

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Slote, Sam. "James Joyce, Brouillons d’un baiser : premiers pas vers Finnegans Wake". Variants, n.º 14 (20 de março de 2019): 203–5. http://dx.doi.org/10.4000/variants.1134.

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Noonan, Mark J. "Financing Fitzginnegan: Joycean Influences and Similarities in the Works of F. Scott Fitzgerald". F. Scott Fitzgerald Review 20 (outubro de 2022): 121–58. http://dx.doi.org/10.5325/fscotfitzrevi.20.0121.

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Abstract This article is fully titled “Financing Fitzginnegan: An Attempt at a Uniform and Pragmatic Classification of Joycean Influences and Similarities in the Works of F. Scott Fitzgerald, Based on an Exagmination of Fifteen Hundred (or so) Textual Factifications and Critical Opinionations, Diagnosed in the Terminology of Different Contemporary Schools—Together with a Chronology of Such Subdivision of Opinionations as Have Arisen Independently.” Owing to the evolution of F. Scott Fitzgerald’s artistic aims during the nine years it took him to write Tender Is the Night, the novel is pathbreaking in ways scholars continue to discover. The profound influence of James Joyce both in this work and over Fitzgerald’s entire career is an example of this. Building on scholarship tracing Joyce’s influence on Fitzgerald’s writings, this article shows that Fitzgerald had both Ulysses and Finnegans Wake in mind as he fashioned and refashioned his last complete novel and that Joyce’s influence also resonates in one of his last stories, “Financing Finnegan.” Published in Esquire in 1938, this tale serves simultaneously as an homage to Finnegans Wake and a retelling of Fitzgerald’s own financial, creative, and psychological struggles in the writing of Tender Is the Night.

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Prado, Célia Luiza Andrade. "A criatividade lexical em Finnegans Wake e a tradução". Tradterm 15 (18 de dezembro de 2009): 25. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2009.46333.

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Em toda língua viva surgem criações lexicais que não passam a fazer parte da linguagem cotidiana e não são dicionarizadas: são criações literárias com propósito estilístico. O presente artigo apresenta o cotejo de algumas criações lexicais em fragmentos de Finnegans Wake, de James Joyce, com tradução de Augusto e Haroldo de Campos. Este trabalho tem o objetivo de verificar se há equivalência dos processos de criação lexical entre original e tradução e se o resultado obtido pelos tradutores confere a mesma expressividade que tem o texto original.

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Rosa Jr., Norton Cezar Dal Follo da, e Maria Cristina Poli. "Literatura, perversão e psicanálise". Revista Latinoamericana de Psicopatologia Fundamental 16, n.º 4 (dezembro de 2013): 702–14. http://dx.doi.org/10.1590/s1415-47142013000400016.

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A partir de clássicos da literatura, cotejados com a leitura de Jacques Lacan, o artigo aborda as contribuições deste campo para a clínica psicanalítica concernente ao estudo da perversão. Neste momento da pesquisa, propomos a discussão de quatro obras: A filosofia na alcova, escrita pelo Marques de Sade, Em busca do tempo perdido, de Marcel Proust, Lavoura arcaica, de autoria de Raduan Nassar e Finnegans Wake, de James Joyce.

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Dow, Suzanne. "Lacan with Beckett". Nottingham French Studies 53, n.º 1 (março de 2014): 1–18. http://dx.doi.org/10.3366/nfs.2014.0069.

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This article explores Jacques Lacan's (minimal) engagements with Samuel Beckett. Before positing Beckett as a ‘silent partner’ of Lacan, the article offers a broader account of the place of literature in Lacan's teaching and in particular the role played by the writings of James Joyce. Lacan's reflections on the Joycean punning on ‘litter’/‘letter’, in Finnegans Wake, provide a context for understanding the psychoanalyst's perspective on Beckett's work.

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Ito, Eishiro. "James Joyce e as traduções japonesas: “If it Was, in Yappanoise Language, Ach Bad Clap?” (FW 90.27-28)". Cadernos de Tradução 42, esp. 2 (29 de dezembro de 2022): 1–20. http://dx.doi.org/10.5007/2175-7968.2022.e92164.

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Este artigo tem como objetivo explorar a história das traduções japonesas das obras de James Joyce. Como resultado da intensa ocidentalização desde meados do século XIX, inúmeras obras-primas da literatura europeia foram traduzidas para o japonês. No processo de resistência contra as Grandes Potências, os japoneses simpatizaram muito com a luta da Irlanda para se tornar independente do Império Britânico e se interessaram pelo Renascimento Literário Irlandês. Os japoneses finalmente encontraram James Joyce. Muitos japoneses aceitaram o desafio de traduzir as profundas obras joyceanas para o japonês como resultado de seus estudos. A cronologia das traduções japonesas das obras de Joyce evidencia quantos japoneses se esforçaram seriamente para entendê-las. Nota-se também que Joyce conhecia algumas traduções para o japonês, principalmente do Ulysses, o que estimulou seu interesse pela língua japonesa o suficiente para descrever seu resultado de aprendizagem com traduções para o inglês em Finnegans Wake.

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Szczeszak-Brewer, Agata. "LÉ James Joyce 's Exiles". James Joyce Quarterly 60, n.º 3 (março de 2023): 299–318. http://dx.doi.org/10.1353/jjq.2023.a905378.

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ABSTRACT: This essay draws connections between exiles in Joyce's texts, LÉ James Joyce 's rescue missions, and twenty-first-century refugees. Joyce's Ulysses , as a meditation on exile understood expansively and inclusively, foreshadows and anticipates the contemporary refugee crises in Ireland, the rest of Europe, and elsewhere. In Ulysses and other works, Joyce links mythological wanderers (Odysseus-Stephen, Telemachus-Bloom) with historical exiles (the Jewish diaspora, Irish emigrants), bringing our attention to the metaphor of contamination in xenophobic rhetoric in turn-of-the-century Ireland. Ulysses and Finnegans Wake attempt to approximate the condition of cultural and linguistic displacement. The multi-lingual, multi-form, and multivoiced narratives echo the lived experiences of displaced people for whom communication often means survival. Nevertheless, the essay calls for a careful use of language about exile and migration. To discuss Joyce's voluntary migrations East in the context of the experiences of the Jewish diaspora in the twentieth century or the refugees from Somalia, Eritrea, Syria, Afghanistan—or now Ukraine—is to diminish the humanitarian crises and suffering of true exile-refugees.

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Nesterova, Natalya M., e Evgeniya A. Naugolnykh. "The Deformation of Language in James Joyce’s Literary Works: Interpretation and Translation Challenges". Russian Journal of Linguistics 23, n.º 2 (15 de dezembro de 2019): 460–72. http://dx.doi.org/10.22363/2312-9182-2019-23-2-460-472.

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The paper deals with studying language deviations of different types in James Joyce’s Ulysses and Finnegans Wake . Deviations in general are known to be a departure from a norm or accepted standard; in linguistics deviations are viewed as an artistic device that can be applied in different forms and at various textual levels. The author’s language deformation is analyzed as a form of deviation used for expressing the writer’s language knowledge. It is concluded that in Ulysses the destruction of the language is thoroughly thought out and multi-aimed. For instance, occasional compound units that dominate the novel imitate the style of Homer, reviving the ancient manner in contemporary language. Despite the use of conventional word-building patterns, rich semantic abundance being the basic principle of Joyce's poetics seriously complicates interpretation of the new words in the source language. The attempt is also made to systematize deviation techniques in Finnegans Wake . In particular, multilinguality is found to be the base of the lexical units created by J. Joyce. Such hybrid nonce words produce the polyphony effect and trigger the mechanism of polysemantism together with unlimited associativity of the textual material, broadening the boundaries of linguistic knowledge as a whole. Additionally, certain results of a deeper comparative analysis of the ways to translate the author’s deviations into Russian are given. The analysis of three Russian versions of Ulysses and the experimental fragmentary translation of Finnegans Wake show that there exists some regularity in the choice of translation method, particularly its dependence on the structural similarities/ differences of the source and the target languages, as well as the language levels affected by J. Joyce in the process of lingual destruction. The impossibility of complete conveyance of the semantic depth of the text and stylistic features in the target language is noted.

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Killeen, Terence. "Brouillons d’un Baiser: Premiers pas vers “Finnegans Wake,” by James Joyce". James Joyce Quarterly 51, n.º 4 (2016): 727–31. http://dx.doi.org/10.1353/jjq.2016.0016.

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Naugolnykh, Evgeniya. "Some Peculiarities of Reduplication as a Musical Device of James Joyce in «Finnegans Wake» and its Translatability". Philology & Human, n.º 2 (21 de julho de 2021): 143–52. http://dx.doi.org/10.14258/filichel(2021)2-13.

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The article deals with language experiments of James Joyce in his novel «Finnegans Wake». The reduplication in the novel is found to be multifaceted and multifunctional. Not only does it strengthen an emotional component, but also creates tone-painting, thus being an inherent part of the author’s word play. A detailed classification of the randomly selected occasional lexical units formed by reduplication is suggested. Among the partial reduplication, divergent modifications are found to dominate. The research concerned the possibilities of translating the revealed occasional words into Russian (A. Rene, A. Volokhonskii versions), German (D. Stündel version) and Spanish (M. Zabaloi). Various translation strategies are considered. The research has found that interlingual transference of the writer’s reduplication is possible, but highly subjective and therefore radical transformation of the source text is often required, leading to creation of the modified version of «Finnegans Wake» rather than its translation in the true sense.

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Pavlov, Dmitry Igorevich. "The influence of author’s provocation upon interpretation of the fourth chapter of “Finnegans Wake” by James Joyce". Litera, n.º 1 (janeiro de 2021): 154–69. http://dx.doi.org/10.25136/2409-8698.2021.1.32592.

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This article is dedicated to the peculiarities of the last novel of the Irish writer James Joyce “Finnegans Wake”, written in 1939. James Joyce paid deliberate attention to the linguistic arrangement of his work, resulting in the novel becoming difficult to translate, as well as to read and comprehend. Analysis is conducted on the fourth chapter of “Finnegans Wake” for demonstrating a peculiar feature of James Joyce's style of writing. Provocation of the Irish novelist is consists in usage of various puns for confusing the reader. This instigates the reader to seek different meanings that correspond to the writer’s concept throughout the text or a specific fragment. The article employs semantic and structural methods of analysis for interpretation of pun. The research also uses historical- cultural and biographical methods for analyzing the complex instances of interpretation. Field analysis is applied for allocating the acquired results into three zones: nuclear, close, and far peripheries. The main result of this research consists in analysis of the novel in the context of author's provocation. The fancy linguistic arrangement of the literary text should be viewed from the two perspectives: on the one hand, the reader analyzes the language and perceives pun as an intended concealment of the novel’s message; on the other hand, interrelation of the meanings of one pun with forces the reader to ponder on a play of sorts between the author and the reader. It can be unequivocally claimed that the reader is constantly uncertain in their correctness.

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Fuchs, Dieter. "James Joyce and the Philosophers at "Finnegans Wake" by Donald Phillip Verene". James Joyce Quarterly 56, n.º 1-2 (2019): 185–89. http://dx.doi.org/10.1353/jjq.2019.0050.

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Bourbon, Brett. "The Monsters of Finnegans Wake: James Joyce and the Revelations of Art". James Joyce Quarterly 59, n.º 3 (março de 2022): 471–84. http://dx.doi.org/10.1353/jjq.2022.0007.

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Brivic, Shelly. "“Finnegans Wake,” The Final Chapter: The Illnes-Straited Colossick Idition by James Joyce". James Joyce Quarterly 49, n.º 3-4 (2012): 693–95. http://dx.doi.org/10.1353/jjq.2012.0044.

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Alonso-Giráldez, José Miguel. "The Mental Construction of Reality in James Joyce". Oceánide 13 (9 de fevereiro de 2020): 69–77. http://dx.doi.org/10.37668/oceanide.v13i.42.

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The purpose of this study is to analyse how James Joyce builds a large part of his narrative through a verbal tissue that is born from the cognitive experience, from the deep interaction between mind and environment. Beyond the psychoanalytic approach or Psychological realism, Joyce, particularly in Ulysses, displays this reading of reality in which a series of cognitive events form a narrative continuum. Reality appears before us through the perceptions of the protagonists, and that is the reason why we only access an incomplete view of reality itself. Partiality or incompleteness is a fundamental characteristic of Ulysses. However, Joyce aspires to build up a coherent and solid universe. Joyce creates a continuous reality through the semantic flow, often chaotic and blurry. Joycean language reveals the inconsistencies and instabilities of one's life, when it is impossible to transmit what cannot be apprehended completely, whether due to mental dysfunctions, hallucinations or other causes, as in Finnegans Wake. In this study, we also consider etymology as a tool that provides stability and linguistic richness to Joyce’s narrative, although subjecting it to hard transformations or mutation processes. Joyce finds great stylistic possibilities in the words used as semantic repositories that come from the past, and, with his passion for language, is able to build cognitive moments that rely on etymology. In the light of the most recent cognitive theories applied to Joyce's work, this study shows how the combination of mind, body and environment builds reality in Joyce, especially in Ulysses, overcoming traditional analyses around the inner monologue or the individual mind. Confirming previous studies, we consider that Joyce builds reality through microhistories, sketches, discursive or introspective cognitive events. However, to form a continuous substrate, that contributes to the construction of identity in Ulysses, Joyce deploys strategic frameworks, such as paternity or adultery.

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Samudio, Jonas Miguel Pires. "Letra e ressurreição: O corpo escrito de “Ana Lívia Plurabella”, de James Joyce". HORIZONTE 15, n.º 48 (31 de dezembro de 2017): 1525. http://dx.doi.org/10.5752/p.2175-5841.2017v15n48p1525.

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O ensaio objetiva realizar uma leitura do capítulo VIII de Finnegans Wake (2004; 2009), conhecido como “Ana Lívia Plurabella”, do escritor irlandês James Joyce. Pretendemos articular as noções de “letra” e de “ressurreição” de modo não temático, mas em uma leitura que destaca a imanência do texto, a superfície textual. Para tal, recorremos ao arcabouço teórico advindo da Teoria Literária (AMARANTE, 2009; BLANCHOT, 2011, 2005; BRANCO, 2011, 2000; LAERE, 1969; MANDIL, 2003; SCHÜLER, 2004), Teologia (AQUINO, 2002; BALTHASAR, 1971), Psicanálise (LACAN, 2007, 2009, 2008) e Filosofia (NANCY, 2001, 2006). Com isso, procuramos compreender de que modo a ilegibilidade do texto de James Joyce convida a uma leitura que privilegia a materialidade da “letra” tal como está escrita: em um movimento des-contínuo, no qual o texto é escrito como um corpo em continuidade – o texto é reconhecível como feito de letras – disruptiva – o sentido não se constrói a modo de decodificação de enredo e interpretação – que se desvanece; a esse movimento, chamamos de “ressurreição”.

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Perales Blanco, Verónica. "AI meets ALP in voce". Arbor 199, n.º 810 (19 de janeiro de 2024): a730. http://dx.doi.org/10.3989/arbor.2023.810010.

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Finnegans Wake es la última obra escrita por el escritor irlandés James Joyce. En ella, la creciente complejidad narrativa que lo caracterizó alcanza niveles extremos, rozando lo ininteligible. El autor no sólo mezcla diferentes idiomas, también inventa nuevos términos que germinan y se significan, en gran medida, desde su dimensión sonora. Personajes, y acontecimientos reales y ficticios se mezclan, formando una amalgama donde variantes de arquetipos mitológicos transcurren una glocalidad cíclica perpetua. La protagonista femenina, Anna Livia Plurabelle (ALP), es un personaje mutante que deviene diferentes elementos naturales a lo largo del texto. El murmullo del río se confunde con el suyo propio, en un pulso narrativo que sobrescribe la orilla en la historia. De fondo siempre se oyen voces y, aunque no son claras, sugieren. Esta obra literaria no se lee, se escucha; no se entiende, se deduce. La presente investigación se sitúa en el contexto actual de auge en la aplicación de la Inteligencia Artificial (IA) al procesado de textos. Somete a prueba la transcripción realizada a partir de la locución de algunos pasajes de Finnegans Wake, evaluando el grado de acierto y los posibles sesgos o desviaciones de los resultados.

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Barciński, Łukasz. "Trans(a)l(e)atory Studies or the Translator as a Performer: "Finnegans Wake" by James Joyce in Polish Translation". Między Oryginałem a Przekładem 24, n.º 41 (30 de setembro de 2018): 29–47. http://dx.doi.org/10.12797/moap.24.2018.41.02.

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Following the interdisciplinary approach, the article presents the translator’s role from the point of view musical terminology, which becomes appropriated for the sake of translation studies. As a result, the study applies the musical term aleatory music denoting an indeterminate type of musical notation which allows considerable freedom in the interpretation of a musical score. From this perspective, the translator, confronted with the inevitable interpretative gaps and indeterminacies in the source text, is compared to a musical performer who interprets the indeterminate aleatory notation. This approach is defined as trans(a)l(e)atory studies which consist in the analysis of multiple interpretative possibilities of target text versions based on one source text. The prominent example of the performative aspect of the translation process defined in this way is Finnegans Wake by James Joyce, the Polish translation of which (Finneganów Tren by rendered by Krzysztof Bartnicki) is analysed. The comparative study focuses on indeterminate aspects of language such as puns, neologisms (including portmanteau words), iconicity, blends and the superimposition of languages.

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Lerm Hayes, Christa-Maria. "‘I will re-create Finnegans Wake anyway’: Joseph Beuys reads James Joyce". Nordic Journal of English Studies 17, n.º 1 (20 de setembro de 2018): 152. http://dx.doi.org/10.35360/njes.427.

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Do Amaral de Souza Cruz, Tarso. "Finnegans Rivolta, “O centenário de Charles Dickens” e “Um encontro”: Considerações sobre traduzir Joyce". Cadernos de Tradução 42, esp. 2 (29 de dezembro de 2022): 1–22. http://dx.doi.org/10.5007/2175-7968.2022.e92160.

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Tendo como tema a tradução de obras no romancista irlandês James Joyce, o artigo tem como objetivo principal apresentar alguns apontamentos, feitos a partir da perspectiva de um mesmo tradutor, acerca dos processos de tradução de três produções joycianas distintas, a saber: os capítulos X e XVI de Finnegans Wake, o ensaio “The Centenary of Charles Dickens” e o conto “An Encounter”. Para tanto, o artigo apresenta algumas características básicas de cada um dos supracitados textos joycianos e discute como tais particularidades influenciaram os diferentes processos tradutórios. A título de ilustração dos pontos levantados, o artigo aborda passagens significativas de cada um dos textos, tanto em suas formas originais, como já vertidos ao português. Um dos resultados obtidos com a investigação desenvolvida ao longo do artigo é evidenciar como, apesar de bastante diversos entre si, todos os textos trazem, cada um a seu modo, a notória complexidade que marca a obra de Joyce e que demanda do tradutor soluções variadas para os multifacetados desafios que se lhe apresentam.

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Hopper, K. "JOHN NASH, James Joyce and the Act of Reception: Reading, Ireland, Modernism. * LEN PLATT, Joyce, Race and Finnegans Wake. * FINN FORDHAM, Lots of Fun at Finnegans Wake: Unravelling Universals." Notes and Queries 56, n.º 2 (1 de junho de 2009): 303–6. http://dx.doi.org/10.1093/notesj/gjp030.

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Di Bella, Caterina. "In nome del corpo: Mauro Covacich e James Joyce a confronto". Italogramma, n.º 21 (8 de setembro de 2023): 66–84. http://dx.doi.org/10.58849/italog.2023.dib.

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This paper focuses on the comparison between some common human and artistic traits of two authors, Mauro Covacich and James Joyce, who, despite working in different historical times and ways, shared the same urban spaces and similar life paths. The aim is to demonstrate how body dimension is central to the personal and literary experience of both writers. The occasion for these reflections was a lecture-monologue held by Covacich, which took place in 2022 in Trieste. It was an event organized at the Bloomsday festival where he presented Joyce’s work, in particular Ulysses and Finnegans Wake, using different keywords like ear, tongue, eye, arm, inner ear and genitals, ending with the mind. There are several autobiographical notes that Covacich refers to in his comparison with the Irish writer, revealing an affinity that takes different forms. On the basis of these considerations, it seems reasonable to invite Covacich’s readers to use the same interpretative criteria proposed by the author for Joyce’s work in order to render their compelling copo a corpo.

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Ó Cuileagáin, Niall. "'A Joycean Smutmonger': Echoes of Joyce in Máirtín Ó Cadhain's Rural Modernism". Review of Irish Studies in Europe 7, n.º 1 (29 de abril de 2024): 58–76. http://dx.doi.org/10.32803/rise.v7i1.3249.

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Since its publication, critics of Máirtín Ó Cadhain’s Irish-language masterpiece Cré na Cille (1949; Graveyard Clay) have consistently namechecked James Joyce’s Ulysses (1922), usually for the sole purpose of conveying its perceived difficulty and/or vulgarity. Indeed, Cré na Cille was first refused publication because, in Ó Cadhain’s words, it was too long and too ‘Joycean’. Ó Cadhain himself evidently saw his work as existing in dialogue with his renowned progenitor and during a late lecture revelled in retelling an overheard conversation in which he was described as nothing more than a ‘Joycean smutmonger’. This article goes beyond such surface-level comparisons to unpick how Ó Cadhain proffers a radical portrayal of rural Irish modernity to compare with Joyce’s predominantly urban equivalent. It argues that Ó Cadhain’s characters, like those found in Joyce’s oeuvre, are consistently forced to navigate the forces of tradition and modernity, which existed at the heart of rural Irish society in the mid-twentieth century. This essay will first compare how Ó Cadhain and Joyce treat the predicaments of a young woman preparing for emigration in their respective short stories ‘An Bhliain 1912’ and ‘Eveline’, before moving on to treat Ó Cadhain’s experiments in form and language in Cré na Cille. In particular, it will examine such experimentation in the context of his lasting obsession with Finnegans Wake (1939), as evidenced by his stated belief that he ‘could write a work like Finnegans Wake’. Informed by recent developments in ‘alternative modernities’, this essay attempts to offer a nascent definition of what might be signified by ‘rural modernism’ in an Irish context.

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Oliveira, Leide Daiane De Almeida. "Resenha: JOYCE, James. Brouillons d’un Baiser. Premiers pas vers Finnegans Wake. Paris: Gallimard, 2014.144 p." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, n.º 2 (5 de junho de 2018): 255–58. http://dx.doi.org/10.5007/2175-8026.2018v71n2p255.

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Ruiz-Mas, José. "Joyce, Galway and the Spanish Armada". Estudios Irlandeses, n.º 18 (17 de março de 2023): 94–102. http://dx.doi.org/10.24162/ei2023-11386.

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James Joyce visited Galway and the Aran Islands in 1912 and took advantage of the occasion to write two articles in Italian that he published in Il Piccolo della Sera in 1912. I analyse the vision that Joyce conveyed of the Spanish Armada both in these articles and later in Ulysses (1922) and in Finnegans Wake (1939). Joyce’s knowledge of the 1588-Armada episode and of the shipwrecks of several Spanish vessels in the vicinity of Galway are the result of both the propagandistic narration usually provided by pro-British historiography and by his presumed readings on the history of the city and the nearby Aran Islands. In such writings, Joyce may have intended, on the one hand, to reflect his tacit acceptance of the imperialism exercised by post-Victorian Britain over Ireland, fully convinced that the decline of the Spanish Empire had begun with the Armada’s defeat against Elizabethan England in 1588. He believed this event gave rise to the birth of the British Empire. On the other hand, Joyce reflects in them his only moderate Irish pride for the supposed humanitarian actions of the population of Galway (the birthplace of Nora), a city he described both as “Spanish” and as sympathetic towards the Armada castaways in Ireland. Joyce’s employment of the Irish chapter of the Gran Armada’s historical episode contributes with a relevant insight about his perception of British imperialism in Ireland.

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Witczak, Krzysztof Tomasz. "“Three Quarks for Muster Mark!” A Slavic gloss to Joyce’s 'Finnegans Wake'". Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, n.º 20/4 (15 de dezembro de 2023): 77–85. http://dx.doi.org/10.26881/bp.2023.4.05.

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The unclear verse “Three Quarks for Muster Mark!”, introduced by James Joyce (1882–1941) to his novel entitled Finnegans Wake (first published in 1939), was a literary source for the English word quark denoting ‘an elementary particle with a fractional electric charge that is part of a proton, neutron or other interacting elementary particle’. The American physicist Murray Gell-Mann, winner of the Nobel Prize in Physics in 1969, was the first researcher to introduce the English word quark into scientific terminology as early as in 1964. After accepting his hypothesis of quarks in the world science, most physicists adopted the English term quark as standard in the physical terminology of most international languages (e.g. French quark, German Quark, Italian quark, Polish kwark, Portugal quark, Russian кварк, Spanish cuark, Turkish kuark, Ukrainian кварк ‘an elementary particle’) and it quickly became a widely recognized internationalism. It is not commonly known that Joyce’s verse facetiously imitated loud cries of German dairy women: Drei Mark für muster Quark! (literally “Three Marks for an excellent curd!”). In other words, E. quark ‘an elementary particle’ is motivated by the German term Quark m. ‘weiser Käse / curd, white cheese’, metaphorically ‘trifle, nonsense, trash, worthless thing’, which – according to most German and Slavic etymologists – represents an obvious Slavic borrowing (especially a Polish or Lower Sorbian loanword), cf. Pol. twaróg, dial. kwaruk m. ‘curd, white cheese’ (< Proto-Slavic *tvarogъ m. ‘id.’). It is suggested that the specialized term kwark represents the so called back-borrowing in the Polish language.

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Conley, Tim. "A "Finnegans Wake" Lextionary: Let James Joyce Jazz Up Your Voca(l)bulary by Bill Cole Cliett". James Joyce Quarterly 55, n.º 1-2 (2017): 221–25. http://dx.doi.org/10.1353/jjq.2017.0040.

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