Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p99-115
Priscila Célia Giacomassi
The issue of geographical escape permeates the texts of Dubliners (1914) by James Joyce and Em busca de Curitiba perdida (1992) by Dalton Trevisan. In both works we come across characters who try to run away from a reality marked by frustration, decadence and paralysis. The impossibility of being able to leave the physical space of the city invariably leads them to sublimate this need through other types of evasion, such as the dream or daydream; the idealization of exotic and distant places; the temporal flight – by valuing the past at the expense of the present time; vices – mostly, drinking; superficial and fleeting relationships and, in the extreme, death as the ultimate solution to the hardships of which they are victims. Thus, Joyce’s Dublin and Trevisan’s Curitiba are not idealized, much less understood as places of protection and warmth – characteristics generally associated with the idea of hometown. In the fictional context in which they are presented, these cities function not only as settings, but as a large and stifling persona that imprisons its inhabitants and inexorably outlines their destinies.
{"title":"Devouring Hometowns: James Joyce’s Dublin and Dalton Trevisan’s Curitiba","authors":"Priscila Célia Giacomassi","doi":"10.11606/issn.2595-8127.v25i1p99-115","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p99-115","url":null,"abstract":"The issue of geographical escape permeates the texts of Dubliners (1914) by James Joyce and Em busca de Curitiba perdida (1992) by Dalton Trevisan. In both works we come across characters who try to run away from a reality marked by frustration, decadence and paralysis. The impossibility of being able to leave the physical space of the city invariably leads them to sublimate this need through other types of evasion, such as the dream or daydream; the idealization of exotic and distant places; the temporal flight – by valuing the past at the expense of the present time; vices – mostly, drinking; superficial and fleeting relationships and, in the extreme, death as the ultimate solution to the hardships of which they are victims. Thus, Joyce’s Dublin and Trevisan’s Curitiba are not idealized, much less understood as places of protection and warmth – characteristics generally associated with the idea of hometown. In the fictional context in which they are presented, these cities function not only as settings, but as a large and stifling persona that imprisons its inhabitants and inexorably outlines their destinies.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76542843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p117-129
Esra Öztarhan
Food is not only a biological need but also a socio-cultural phenomenon. Though food is a vital need for people to survive, it does not only contain taste and ingredients, but contains other things like emotions, symbols of identity, power relations, gender roles, economy and social rules. Food choices affect lots of areas in the society and the life of individuals. This article will analyze the use of food in James Joyce’s Ulysses through its ordinary hero Leopold Bloom. The novel, as the epic of the body, uses food as a reflection of everyday life and grotesque realism. Moreover, food is used throughout the novel to exemplify Bloom’s personal and social identity. Bloom is a pacifist, nontraditionally masculine man, half Irish, half Jewish and also feels like an outsider in Dublin. All these aspects are narrated in Ulysses through the food he chooses to eat. Joyce has created a novel about life with all its aspects, including food.
{"title":"Eating With Bloom on the Sixteenth of June: Food in Ulysses","authors":"Esra Öztarhan","doi":"10.11606/issn.2595-8127.v25i1p117-129","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p117-129","url":null,"abstract":"Food is not only a biological need but also a socio-cultural phenomenon. Though food is a vital need for people to survive, it does not only contain taste and ingredients, but contains other things like emotions, symbols of identity, power relations, gender roles, economy and social rules. Food choices affect lots of areas in the society and the life of individuals. This article will analyze the use of food in James Joyce’s Ulysses through its ordinary hero Leopold Bloom. The novel, as the epic of the body, uses food as a reflection of everyday life and grotesque realism. Moreover, food is used throughout the novel to exemplify Bloom’s personal and social identity. Bloom is a pacifist, nontraditionally masculine man, half Irish, half Jewish and also feels like an outsider in Dublin. All these aspects are narrated in Ulysses through the food he chooses to eat. Joyce has created a novel about life with all its aspects, including food.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90575456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p57-67
Lara Rebeca da Mata Santa Barbara, Noélia Borges de Araújo
Reading Ulysses, James Joyce’s novel which was first published in 1922, may not be an easy task. In the text, Joyce does not apply his narrative to traditional, chronological, structures. Instead, the reader is challenged to dive into the stream of consciousness of its main character, Leopold Bloom. This means reading through disconnections, fragmented thoughts, Bloom’s distractions, the synesthetic elements within the narrative, and encountering a language that is full of neologisms, allusions, agglutinations, polyphonies, among other characteristics. However, such a challenge often represents a barrier to many who may feel lost or overwhelmed by that reading. For the centenary of the publication of Ulysses, this essay aims at unravelling the Joycean labyrinth through the sixteenth episode of the novel, “Eumaeus”. Following the technique of the content analysis, defined by Lauren Bardin in L’Analyse de Contenu, it is possible to present an overview of the chapter. The description and interpretation of the key aspects of the chapter will guide the readers’ navigation through the literary virtuosities, allusions, and puzzles of the book.
{"title":"Who’s Afraid of Reading Joyce’s Ulysses: Unravelling the Joycean Labyrinth in “Eumaeus”","authors":"Lara Rebeca da Mata Santa Barbara, Noélia Borges de Araújo","doi":"10.11606/issn.2595-8127.v25i1p57-67","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p57-67","url":null,"abstract":"Reading Ulysses, James Joyce’s novel which was first published in 1922, may not be an easy task. In the text, Joyce does not apply his narrative to traditional, chronological, structures. Instead, the reader is challenged to dive into the stream of consciousness of its main character, Leopold Bloom. This means reading through disconnections, fragmented thoughts, Bloom’s distractions, the synesthetic elements within the narrative, and encountering a language that is full of neologisms, allusions, agglutinations, polyphonies, among other characteristics. However, such a challenge often represents a barrier to many who may feel lost or overwhelmed by that reading. For the centenary of the publication of Ulysses, this essay aims at unravelling the Joycean labyrinth through the sixteenth episode of the novel, “Eumaeus”. Following the technique of the content analysis, defined by Lauren Bardin in L’Analyse de Contenu, it is possible to present an overview of the chapter. The description and interpretation of the key aspects of the chapter will guide the readers’ navigation through the literary virtuosities, allusions, and puzzles of the book.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"83 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88967146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p165-187
L. Freitas, Vitor Alevato do Amaral
Readers of Joyce know the character Gabriel Conroy from Dubliners’ final, longest, and most famous short story, “The Dead”. But the question whether they have read a novel called Gabriel Conroy will certainly make most of those readers frown. Yet before the protagonist of “The Dead” was created by Joyce, another character in literature had been called by this name, Captain Gabriel Conroy, from Bret Harte’s 1876 homonymous novel. By choosing that name for the protagonist of his short story, Joyce established a dialogue, although a possibly superficial one, between his work and that of Harte.
乔伊斯的读者都知道加布里埃尔·康罗伊这个角色，他来自都柏林最后一部、最长也是最著名的短篇小说《死者》。但是，如果问他们是否读过一本名为加布里埃尔·康罗伊的小说，肯定会让大多数读者皱眉头。然而，在乔伊斯创作《死者》的主人公之前，文学作品中的另一个角色也被称为加布里埃尔·康罗伊船长(Captain Gabriel Conroy)，来自布雷特·哈特(Bret Harte) 1876年的同名小说。通过为短篇小说的主人公选择这个名字，乔伊斯在他的作品和哈特的作品之间建立了一种对话，尽管可能是肤浅的对话。
{"title":"The First Chapter of Gabriel Conroy, by Bret Harte","authors":"L. Freitas, Vitor Alevato do Amaral","doi":"10.11606/issn.2595-8127.v25i1p165-187","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p165-187","url":null,"abstract":"Readers of Joyce know the character Gabriel Conroy from Dubliners’ final, longest, and most famous short story, “The Dead”. But the question whether they have read a novel called Gabriel Conroy will certainly make most of those readers frown. Yet before the protagonist of “The Dead” was created by Joyce, another character in literature had been called by this name, Captain Gabriel Conroy, from Bret Harte’s 1876 homonymous novel. By choosing that name for the protagonist of his short story, Joyce established a dialogue, although a possibly superficial one, between his work and that of Harte.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87772412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p69-98
Bartholomew Ryan
This text is an account of “Bloomsday”(a celebration of the day in which James Joyce’s Ulysses is set) in Lisbon in the years 2012-2022, from the perspective of the director of the event. I have always tried to interweave Ireland, Portugal and Brazil in the encounter with Joyce with ourselves and our sounds in language and music, with our diverse locations, and with the different translations of Ulysses. The vision has always been to combine entertainment and a subversive joy via music, performative readings and remarks on Ulysses, together with diving deep into the philosophical panorama and profound possibilities of experimenting with language through everyday characters and the experience of life and death within a simple story that encompasses Joyce’s “chaosmos.” Crucially, it is in reading and hearing the text aloud where one enters literature as reality and as a vivid experience. This text also brings up two fascinating reviews of Ulysses which were an inspiration for Bloomsday in 2022: one from 1922 by Shane Leslie (the son of a protestant Anglo-Irish landlord, who converted to Catholicism) where he referred to the book as “literary Bolshevism”; and the other from 1935 by Karl Radek (a Bolshevik leader of the Russian Revolution of 1917) who called it “a heap of dung, crawling with worms.” In their negative critique from opposite ends of the political spectrum, they nevertheless capture the revolutionary spirit and “epic of the human body” of the book in which we are still learning to catch up with and to flourish.
{"title":"A History and Experience of Bloomsday in Lisbon 2012-2022","authors":"Bartholomew Ryan","doi":"10.11606/issn.2595-8127.v25i1p69-98","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p69-98","url":null,"abstract":"This text is an account of “Bloomsday”(a celebration of the day in which James Joyce’s Ulysses is set) in Lisbon in the years 2012-2022, from the perspective of the director of the event. I have always tried to interweave Ireland, Portugal and Brazil in the encounter with Joyce with ourselves and our sounds in language and music, with our diverse locations, and with the different translations of Ulysses. The vision has always been to combine entertainment and a subversive joy via music, performative readings and remarks on Ulysses, together with diving deep into the philosophical panorama and profound possibilities of experimenting with language through everyday characters and the experience of life and death within a simple story that encompasses Joyce’s “chaosmos.” Crucially, it is in reading and hearing the text aloud where one enters literature as reality and as a vivid experience. This text also brings up two fascinating reviews of Ulysses which were an inspiration for Bloomsday in 2022: one from 1922 by Shane Leslie (the son of a protestant Anglo-Irish landlord, who converted to Catholicism) where he referred to the book as “literary Bolshevism”; and the other from 1935 by Karl Radek (a Bolshevik leader of the Russian Revolution of 1917) who called it “a heap of dung, crawling with worms.” In their negative critique from opposite ends of the political spectrum, they nevertheless capture the revolutionary spirit and “epic of the human body” of the book in which we are still learning to catch up with and to flourish.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79845493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p47-56
Tarso do Amaral de Souza Cruz
In his monumental autobiographical series of novels My Struggle, acclaimed Norwegian novelist Karl Ove Knausgaard devotes a considerable number of pages to discuss James Joyce’s fictional works. In the last volume of the series – The End –, practically the entire body of Joyce’s fiction – from early works such as Stephen Hero and Dubliners to the modernist masterpieces Ulysses and Finnegans Wake – is included in a discussion on the Irish novelist’s literature. Only one among Joyce’s major works is not tackled by Knausgaard in The End: A Portrait of the Artist as a Young Man. Nonetheless, it is precisely Knausgaard who writes the preface to a celebrated Centennial edition of Joyce’s first novel in which, amidst other topics, he ponders over what he understands to be “the very essence of literature.” The article aims at highlighting some key aspects of Knausgaard’s take on Joyce’s fictional output and provide enough evidence to support the hypothesis that the Norwegian writer’s conceptualization of the literary phenomenon, including Joyce’s work, is based upon questionable essentialist premises.
{"title":"“that which is common to us all”: Karl Ove Knausgaard as Reader of Joyce","authors":"Tarso do Amaral de Souza Cruz","doi":"10.11606/issn.2595-8127.v25i1p47-56","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p47-56","url":null,"abstract":"In his monumental autobiographical series of novels My Struggle, acclaimed Norwegian novelist Karl Ove Knausgaard devotes a considerable number of pages to discuss James Joyce’s fictional works. In the last volume of the series – The End –, practically the entire body of Joyce’s fiction – from early works such as Stephen Hero and Dubliners to the modernist masterpieces Ulysses and Finnegans Wake – is included in a discussion on the Irish novelist’s literature. Only one among Joyce’s major works is not tackled by Knausgaard in The End: A Portrait of the Artist as a Young Man. Nonetheless, it is precisely Knausgaard who writes the preface to a celebrated Centennial edition of Joyce’s first novel in which, amidst other topics, he ponders over what he understands to be “the very essence of literature.” The article aims at highlighting some key aspects of Knausgaard’s take on Joyce’s fictional output and provide enough evidence to support the hypothesis that the Norwegian writer’s conceptualization of the literary phenomenon, including Joyce’s work, is based upon questionable essentialist premises.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86767854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p189-211
C. Galindo
A full version of Finnegans Wake’s Book 1, Chapter 1, in Portuguese.
芬尼根斯·韦克的第一卷第一章的完整版本，葡萄牙语。
{"title":"Finnegans Wake 1.1: anew begins","authors":"C. Galindo","doi":"10.11606/issn.2595-8127.v25i1p189-211","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p189-211","url":null,"abstract":"A full version of Finnegans Wake’s Book 1, Chapter 1, in Portuguese.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83871559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p13-27
Mick Greer
In 1904, Joyce launched his satirical broadside, “The Holy Office”, attacking the members of the Abbey Theatre. For the young Joyce, it appeared “that mumming company”, run by Yeats and Lady Gregory, had “surrendered to the popular will”. He craved to show how he had broken away from what he considered the folksy, pseudo Irishness of “gold-embroidered Celtic fringes” and those who in their “foolishness . . . sigh back for the good old times” (Occasional, Critical, and Political Writings 28) – times encapsulated, for him, in Cathleen ni Houlihan. Despite telling us that “Cathleen was received with rapturous applause”, Stanislaus Joyce stresses the fact that his brother “was scornful and indignant that Yeats should write such political and dramatic claptrap” (My Brother’s Keeper 187). In “Telemachus”, the more mature Joyce took the opportunity to put his art at the service of his taste for personal and literary revenge through incorporating a brief, parodic take on Yeats and Gregory’ play through the scene with the milk woman. By setting “Cathleen” before his “cracked lookingglass” (Ulysses 6), he was able not only to explore an ironic echo of various tensions between the colonised Irish and the colonising Englishman, but also to ridicule the romanticised view of Ireland presented by much Celtic Revival writing – including drama – at the time Ulysses was set, and that would extend well beyond the time in which it was written and published.
{"title":"“Telemachising” the Poor Old Woman: Cathleen ni Houlihan “Restaged” at the Martello Tower","authors":"Mick Greer","doi":"10.11606/issn.2595-8127.v25i1p13-27","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p13-27","url":null,"abstract":"In 1904, Joyce launched his satirical broadside, “The Holy Office”, attacking the members of the Abbey Theatre. For the young Joyce, it appeared “that mumming company”, run by Yeats and Lady Gregory, had “surrendered to the popular will”. He craved to show how he had broken away from what he considered the folksy, pseudo Irishness of “gold-embroidered Celtic fringes” and those who in their “foolishness . . . sigh back for the good old times” (Occasional, Critical, and Political Writings 28) – times encapsulated, for him, in Cathleen ni Houlihan. Despite telling us that “Cathleen was received with rapturous applause”, Stanislaus Joyce stresses the fact that his brother “was scornful and indignant that Yeats should write such political and dramatic claptrap” (My Brother’s Keeper 187). In “Telemachus”, the more mature Joyce took the opportunity to put his art at the service of his taste for personal and literary revenge through incorporating a brief, parodic take on Yeats and Gregory’ play through the scene with the milk woman. By setting “Cathleen” before his “cracked lookingglass” (Ulysses 6), he was able not only to explore an ironic echo of various tensions between the colonised Irish and the colonising Englishman, but also to ridicule the romanticised view of Ireland presented by much Celtic Revival writing – including drama – at the time Ulysses was set, and that would extend well beyond the time in which it was written and published.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90852171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p157-163
L. Ferreira
This is a translation of an excerpt from the last three pages of Finnegans Wake (FW 626.30 – 628.16), in which the river-character Anna Livia Plurabelle (ALP) presents a bitter farewell monologue, motivated by the abandonment of her family and the supposed betrayal of her mountain-husband Humphrey Chimpden Earwicker (HCE) with her cloud-daughter, young Issy. While remembering the past, ALP feels old, alone and without the strength to continue, disintegrating herself from a world in which she no longer fits. She, who monologues at the same time that her family sleeps, goes to meet the father-sea in a flow that closes the last page of the work with the excerpt “A way a lone a last a loved a long the” (no period). However, this absence of punctuation provokes a circular movement that takes the reader back to the initial page, which begins with the word riverrun, in lowercase, which connects itself with the incomplete sentence “A way a lone a last a loved a long the” from page 628. In this way, what seemed to be the end of the character and also of the book soon becomes the restart of both. It is as if the river-woman who disappears into the sea evaporates herself and reappears on the front page after raining from her cloud-daughter, being vigorously reborn through her rival.
这是《芬尼根守灵记》(FW 626.30 - 628.16)最后三页摘录的翻译，其中河流人物安娜·利维娅·普勒贝尔(ALP)发表了一段痛苦的告别独白，她的动机是抛弃了她的家庭，以及她的山区丈夫汉弗莱·黑猩猩·埃尔威克(HCE)和她的云女儿年轻的伊西背叛了她。在回忆过去的时候，ALP感到自己老了，孤独了，没有力量继续下去，从一个她不再适合的世界中解体了自己。在她的家人睡觉的同时，她独白着，以一种流动的方式去见父亲的海，在作品的最后一页以摘录“孤独的路，最后的爱，长久的爱”(没有句号)结束。然而，标点符号的缺失引发了一个循环运动，将读者带回到最初的一页，以小写的riverrun开头，它与628页的不完整句子“a way a lone a last a loved a long the”相连。通过这种方式，似乎是这个角色和这本书的结束，很快就变成了两者的重新开始。这就像消失在大海里的河女蒸发了自己，在雨从她的云女儿身上落下后，通过她的对手而蓬勃地重生，重新出现在头版上。
{"title":"Translation of an Excerpt from Anna Livia Plurabelle’s Final Monologue","authors":"L. Ferreira","doi":"10.11606/issn.2595-8127.v25i1p157-163","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p157-163","url":null,"abstract":"This is a translation of an excerpt from the last three pages of Finnegans Wake (FW 626.30 – 628.16), in which the river-character Anna Livia Plurabelle (ALP) presents a bitter farewell monologue, motivated by the abandonment of her family and the supposed betrayal of her mountain-husband Humphrey Chimpden Earwicker (HCE) with her cloud-daughter, young Issy. While remembering the past, ALP feels old, alone and without the strength to continue, disintegrating herself from a world in which she no longer fits. She, who monologues at the same time that her family sleeps, goes to meet the father-sea in a flow that closes the last page of the work with the excerpt “A way a lone a last a loved a long the” (no period). However, this absence of punctuation provokes a circular movement that takes the reader back to the initial page, which begins with the word riverrun, in lowercase, which connects itself with the incomplete sentence “A way a lone a last a loved a long the” from page 628. In this way, what seemed to be the end of the character and also of the book soon becomes the restart of both. It is as if the river-woman who disappears into the sea evaporates herself and reappears on the front page after raining from her cloud-daughter, being vigorously reborn through her rival.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"336 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80641633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-15DOI: 10.11606/issn.2595-8127.v25i1p131-153
Nilce M. Pereira
With a highlight on the challenges and exciting possibilities of James Joyce’s texts, this article explores the illustrations of Jun-Pierre Shiozawa for Ulysses, a series of eighteen watercolours produced for each episode of the work in 2014 and composing one of the digital galleries on the artist’s website. The focus of the investigation is to show that the (apparent) simplicity posited by watercolour as a pleasing medium (with its fragile shapes smoothly contrasting light and dark hues in fine delicate textures) reveals a complex network of connotations and cohesive layers of meaning, constructed especially by means of the scenes selected for illustration, the point of view from which each one is presented and their association with Joyce’s text, captioned in short extracts below each image. The article is structured in one section and, in the analysis proper, I examine the main compositional resources employed in each illustration, the effects evoked by them and the relationships of image and text implied in the captions. Based on art and image studies, I also discuss in which sense the term “simplicity” is being used in the article, which adds a dimension to Shiozawa’s art.
{"title":"The Multifarious Simplicity of Jun-Pierre Shiozawa’s Illustrations for Ulysses","authors":"Nilce M. Pereira","doi":"10.11606/issn.2595-8127.v25i1p131-153","DOIUrl":"https://doi.org/10.11606/issn.2595-8127.v25i1p131-153","url":null,"abstract":"With a highlight on the challenges and exciting possibilities of James Joyce’s texts, this article explores the illustrations of Jun-Pierre Shiozawa for Ulysses, a series of eighteen watercolours produced for each episode of the work in 2014 and composing one of the digital galleries on the artist’s website. The focus of the investigation is to show that the (apparent) simplicity posited by watercolour as a pleasing medium (with its fragile shapes smoothly contrasting light and dark hues in fine delicate textures) reveals a complex network of connotations and cohesive layers of meaning, constructed especially by means of the scenes selected for illustration, the point of view from which each one is presented and their association with Joyce’s text, captioned in short extracts below each image. The article is structured in one section and, in the analysis proper, I examine the main compositional resources employed in each illustration, the effects evoked by them and the relationships of image and text implied in the captions. Based on art and image studies, I also discuss in which sense the term “simplicity” is being used in the article, which adds a dimension to Shiozawa’s art.","PeriodicalId":52691,"journal":{"name":"ABEI Journal","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74642419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：