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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... obra de Joyce. Sin embargo, la lectura de Finnegans Wake lleva pronto a reconocer que los límites del experto son una forma de condonar de antemano todo lo que se ignora, un consuelo para olvidar por un tiempo que Finnegans Wake, como ...
... obra eran el sueño, la historia y la muerte. La muerte, cuyo tratamiento en FW ha estado a menudo supeditado a una metáfora del sueño, tiene en la falta de discreción su terreno privilegiado. Se ha dicho en ocasiones que la existencia ...
... 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 escritura, muerte y sujeto se combinan de forma característica para ...
... Obra abierta; Ellmann, James Joyce; Foucault, The Order of Things; Hayman, A First Draft Version of Finnegans Wake; McHugh, Annotations to Finnegans Wake (las páginas son las mismas); Tindall, A Reader's Guide to Finnegans Wake ...
... el tinte peculiar de la obra al resolver que "the most serious charge, perhaps, is that the book simply does not make sense" ("Structures of Meaning" 560). David Hayman jugaba 9 1.1. La situación de Finnegans Wake. ...
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