Scientia Traductionis n. 12, 2012.

2016

The multilingualism of Finnegans Wake has been widely regarded as a feature that makes the text difficult and perplexing, and even inessential to some readers and translators who have chosen to iron it out of their plot summaries and translations. Because the work has a reputation for impenetrability and inaccessibility that at times borders on discursive incoherence, its political value has chiefly been related to its rebellion against linguistic order—specifically the structural, historical, and ideological rule of the British Empire’s primary language, English—rather than its capacity for literary pleasure, inclusivity, and illumination. This project critically complicates established assessments of Joycean multilingualism and develops innovative transdisciplinary approaches to the Wake’s multilingual design in an effort to do scholarly, creative, as well as ethical, justice to the text itself as well as its variously diverse global readership. Chapters 1 and 2 explore the stylis...

1992

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1990

Joyce claimed he lacked imagination. His artistry craved supports and scaffolds: structures from which and into which to be textured. Joyce's conception of art reached out and back to the medieval. Setting up the illuminators of the Book ofKells as his artistic ancestors (JJ 545), he strove for the intricacy and significant complexity of their design in the text of his writing. In, as well as towards, his compositional crafting, Joyce was as much a reader as a writer of texts. Jesuit-trained, he was thoroughly schooled in the reading skills which he early exercised with catholicity on textbooks and dictionaries, curricular and extra-curricular literature, or the canonical Book of Books. Through reading, he penetrated to the philosophical foundations of the act of reading. 'Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot' (U 3.2-3). Anticipating long in advance the conceptualizations of present-day text theory, he discovered the structural and semiotic analogies of language-encoded texts and experience-encoded reality; and, in a desire like Stephen Dedalus's to grasp the wholeness and harmony of things (their integritas and consonantia) for the sake of illumination (their 'radiance', or claritas (P 212)), he taught himself to read streets and cities, landscapes, seashores or rivers, people, actions, events, dreams and memories, the randomness of everyday or the patterns (real or apparent) of history as texts in their own right. Learning to read the world in this way was an act of intellectual selfliberation, and reading it in this way a new experience. Stephen Dedalus, exploiting Thomism for aesthetics and yet awaiting that new experience ('When we come to the phenomena of artistic conception, artistic gestation and artistic reproduction I require a new terminology and a new personal experience' (P 209)), mirrors James Joyce on the HANS WALTER GABLER very brink of turning reading into writing. To circumscribe, and thus make readable, the wholeness of things means to unlock them, in a kind of deconstruction, out of their apparently amorphous contingencies. Such unlocking turns into a morphologizing, or shaping, act. Through the constructive perception of things in their radiant wholeness, it makes them communicable, and thus writable. Hence springs a notion of writing as an act and process of transubstantiation ('In the virgin womb of the imagination the word was made flesh' (P 217)). The alternating pulse, and impulse, of deconstructive unlocking and constructive shaping as reading and writing is fundamental to Joyce's craft and art. As a governing principle, not only does it make available the external materials of literature and all manner of language-encoded pretexts, of history, autobiography, and everyday experience so as to render them integrable into the text-in-writing, the work in progress; but inside the boundary lines, too, that separate Joyce's text from all the pre-texts it absorbs, that text itself may be seen to be propelledand thus, progressively self-generated -by constant and continuous acts of reading and rereading. Notes, sketches, drafts, fair-copies, typescripts, and proofs have survived for Joyce's entire ceuvre, albeit but fragmentarily for the early works, and with increasing comprehensiveness only from mid-Ulysses onwards. These workshop remains are sufficiently rich and varied to substantiate our general understanding of his mode of composition. One particularly illuminating instance of the complex interaction of the reading and the writing processes can be made out in the notes and drafts for Exiles. A surviving notebook contains trial fragments of dialogue and a number of passages of pragmatic, thematic, critical, and philosophic reflection on the play, its actions, its characters and their motivations, as well as on some of the audience responses envisaged; material which is all but unique from Joyce's pen. 1 Beyond this material, there are three sections -interspersed among the rest, but clearly of a common nature that sets them off and links them to one another -which enact the reading and writing itself. The first carries two initialized openings sequentially dated which also subdivide it into a reading and a writing phase: 'N.(B) -12 Nov. 1913' and 'N.(B) -13 Nov. 1913'. The initials provide the signal justification for our decoding approach: Joyce's companion Nora and the fictional character Bertha stand to be read in terms of each other.

Rejoycing: New Readings of Dubliners, ed. Rosa Maria Bollettieri Bosinelli and Harold F. Moser, Jr., UP of Kentucky, 1998, pp. 68-84., 1998

In considering translations of Joyce’s Dubliners, this essay asks: what kind of "Joyce" do the foreign readers encounter when they enter Dubliners in their native languages? What kind of transformations do Joyce's texts undergo in translation? The present study explores selected aspects of reading, translation and transformation of Dubliners in Polish. Three other translations of Dubliners, the French, the Spanish, and the Italian, are used as "normative" texts, as I look at translators (1) correct what they think to be errors on Joyce's part (e.g., malapropisms), (2) edit Joyce's use of repetition, (3) edit his syntax, and (4) annotate pertinent information not likely to be known to the target language audiences. The premise of my approach to the Polish Dubliners is that knowledge of the English language alone is not necessarily a passport to translating Joyce, just as knowledge of Greek is not a license to translate Homer, (or of Italian – to translate Dante). Because Joyce is exceptionally difficult to translate, his texts require translators to be also scholars of Joyce, not only fully immersed in the basic facets of Joycean scholarship, but also with full access to the Joyce materials (archives, criticism) published in English.

2003

Joyce Studies in Italy 13 (2012): 93-103

EDIZIONI ROMA, 2012 Volume pubblicato con il contributo del Dipartimento di Letterature Comparate dell'Università degli Studi Roma Tre TUTTI I DIRITTI RISERVATI È vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o didattico. L'Illecito sarà penalmente perseguibile a norma dell'art. 171 della legge n. 633 del 22/04/1941

Threads in the Complex Fabric of Language. Linguistic and Literary Studies in Honour of Lavinia Merlini. Ed. by M. Bertuccelli, A. Bertacca, S. Bruti, 2008, pp. 59 – 68.

Franca Ruggieri, ed., Memorial I would have. Per Giorgio Melchiori, un anno dopo (Roma, Edizioni Q, 2010), pp.133-140., 2010

1976

Logos: a journal of modern culture and society, 2022

he undiminished impact of Joyce in world literature, as well as the great critical and commercial popularity of contemporary Irish fiction, can blind us to the fact that the novel has an uneasy place in the Irish literary tradition. For more than a century, Irish fiction has enjoyed popularity and esteem on the world literary stage out of all proportion to the size of the country's population. But whereas in poetry and drama one can easily discern relationships and lineages amongst Irish writers, and identify shared concerns, influences, and practices shaping their work, it is very difficult to describe the contours of "the Irish novel" or to account, collectively, for its success. There is very little, on the surface, to connect the linguistic experimentation of Anna Burns' Milkman, the satirical comedy of Claire Kilroy or Paul Murray, the unadorned, quasi-didactic prose of Sally Rooney, and the vernacular flights of Patrick McCabe. It is harder still to perceive a clear connection between contemporary Irish novelists and their pioneering forebears in the twentieth century. Moreover, while Irish novels continue to win prizes and acclaim, and abroad Ireland is viewed as a veritable fiction factory, in the Irish popular imagination at home, in a way unimaginable in France, England, the United States, or Italy, the emblematic image of "the writer" has stubbornly remained (or at least did until very recently) that of a poet or a playwright rather than a novelist.

2009

The essays gathered in Joyce in Progress are the fruit of the First Annual Graduate Conference in Joyce Studies held at the Universita Roma Tre in February 2008, and organized by the Italian James Joyce Foundation. They are a testament to the enduring fascination of Joyce's writings and the ongoing liveliness of debate about the writer and his works and contexts. There is a wide array of genuine research on show here, which looks at Joyce from a variety of angles, focusing on his deeply complex autobiographical fiction through genetic studies, post-colonial studies, eco-criticism and intertextual and multi-modal approaches. This volume offers ground-breaking multi-disciplinary readings and usefully connects Joyce's work with that of contemporary writers, rivals, followers, and successors.

2021

From all accounts, Joyce is said to have claimed that World War II need never have happened if Europeans had read his last book, Finnegans Wake. Whether that is true or not, the book is intensely anti-authoritarian and anti-Fascist-not only in content, but also in its performative language. The rampant laughter heard and experienced throughout the text performs an effective deconstruction of any political, religious, moral, or philosophical ideology that explicitly or implicitly lays obstacles in the way of man's birthright to freedom. The humour of Joyce's poetic language entails an unmasking of unuttered premises of ideologies as well as a recognition of man's radical eccentricity and interdependence with the other.

Choice Reviews Online

Coping with Joyce brings together eighteen scholars who contributed to making the 1986 International Joyce Symposium a land mark in Joycean studies. Their diverse ap proaches to the intricate Joyce corpus, from Dubliners and Exiles to Ulysses and Fin negans Wake, reflect the important changes that have taken place in the scholarly world during recent years, as traditional and posttraditional theorists and critics have found in James Joyce a major area of investigation and interpretation. Five major addresses of fer a litany of perspectives: historical, bio graphical, cultural, thematic, linguistic, textual, and sexual. These perspectives are further developed in the subsequent critical studies. Coping with Joyce provides a cross-section of the latest in James Joyce studies, the most recent views of several well-established Joyce scholars and the work of some newer critics in the field.

Cahiers du Centre de Linguistique et des Sciences du Langage

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 ...

This thesis will examine the problem of alterity that presents itself for “being” in relation to “language” in James Joyce’s Dubliners, Stephen Hero, A Portrait of the Artist, Ulysses and Finnegan’s Wake. I will argue that being in relation to language manifests itself into an ethical problem that can be traced back to the subject’s search for an origin. Blanchot’s writings on the “limit-experience” will be used as a methodological approach to the problem of being in relation to language. The theme of death and dying will be explored in each chapter through the dialectic of negativity. The dialectic of negativity arises from the problem of separation that comes between being and language. As being faces the limit to language, the subject faces the limits to being seen as another negative presence. Thus, once the subject’s negative thought doubles into the negation of absence, being becomes infinitely estranged by language. Here, the subject’s experience of separation manifests itself into signs of “affliction” that resembles a state of “dying” as being faces absence. Moreover, the dialogic of negativity opens up a dialogue between the subject’s relation to language and the subject that is questioned within the narrative. Therefore, Blanchot’s notion of the “neuter” will be used to explore the critical character of the narrator that questions the subject within the narrative from the exterior God like position, also linked to Blanchot’s notion of the “Outside”. The Outside space demands an ethical response from each subject called into question and afflicted with the haunting nature of being a double. This doubling space of alterity will be traced in this thesis in order to reveal a crisis for the subject in the irreducible state for “being-in-itself” that is locked in the sacred space of literature and present at the final experience of the limit to the Outside.

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