El Signo Indiscreto de Finnegans WakeUniversal-Publishers, 1997 - 384 стор. The difference between "mass" and "mess," for example, says a lot about the distinctive capacity of phonemes and the alphabet, but very little about the many similarities in these two words. It follows that there is something not exactly alphabetical in language that is prompted by similarities like these. Even quotidian reading exhibits non-alphabetic ingredients, for instance when we skip spelling mistakes or typographical errors; i.e.: when we impose analogies over differences, hermeneutics over semiology, semasiography over the alphabet. Joyce, who once commented that "a few letters will do if you can't read a whole word," just incorporates another system of writing to his "cyclical history," very much in keeping with Vico's idea that each cycle has its own writing system. The incorporation of this non-alphabetic, semasiographic way of reading also explains the presence of allusions and opens up the apparent conflict between allusion and intentionality. How far can analogies go? or rather, can allusions and intentionality be reconciled? They both reveal the existence of coincidences (facilitated by the narrow range of the alphabet); some of them Joyce surely saw, many others produced by mere chance. Chance, then, is the realm that, far from making them opposite, reunite intentionality and allusion, for both depend on the previous existence of coincidences. In Finnegans Wake the search for coincidences marks the beginning of awakening. Using Joyce's additions to his drafts as orientation, particularly those that refer to the Egyptian Book of the Dead, it is possible to trace the resurrection process that Shaun undergoes. Shaun finds the keys to conventional language and to his awakening, like in the fairy tale, in an intentional act of love, in a kiss. |
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... contexto similar, "en el límite de lo indocumentable" (Límites 103). 2 "Joyce cannot not know this. He cannot, for example, not know that the book of all books, Ulysses or Finnegans Wake, is still fairly inconsequential among the ...
... contexto tradicional, que no es otro que la relación entre el autor y su obra, además de la obra misma. La idea tradicional de la fama, la evolución en la eficacia de los epitafios son un intento de supervivencia del individuo, donde ...
... contexto: es quien empieza a preguntarse por las razones misteriosas que me han inducido a juntar precisamente estas dos palabras. (Límites 62) Efectivamente, el argumento de Eco se puede proseguir buscando las coincidencias de su ...
... contexto . De nuevo es Wolfgang Iser quien llama la atención sobre esto cuando comenta lo siguiente : If it is true , as Lesser claims , that the literary text releases the reader from the pressure of his normal experience , thus ...
... contexto original , o en la experiencia usual de quien aprende la letra de una canción en una lengua que no conoce . En FW ocurre que a veces una frase , como " Like Lidiam Liddle did Loveme Long " ( 208.05 ) , puede resultar ser la ...
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