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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... punto de partida de esta tesis es el reconocimiento de la falta de separación entre las palabras, de la falta de discreción en el signo de Finnegans Wake. Desde una perspectiva estructural, se podría pensar que esto implica que ...
... punto de 5 Ver también Attridge, "Unpacking the Port-Manteau, or Who's Afraid of Finnegans Wake?" Bishop 337, en lo que se refiere a "Anna Livia." Igualmente, varias tesis doctorales se han centrado en los límites de inteligibilidad de ...
... punto de partida. El dilema no es ni mucho menos único en la historia de la literatura. Por citar sólo un caso representativo, la visión imaginaria del Retablo de las Maravillas ilustra la paradoja de toda ficción, es decir, el choque ...
... punto de vista, la significación del texto no está en el significado textual, sino en el que sale a la superficie al leer: "[t]he significance of the work, then, does not lie in the meaning sealed within the text, but in the fact that ...
... punto de vista, considerar que el "barbarismo" es un vicio supone ignorar hasta cierto punto que las lenguas viven en contacto. Pues bien, ese contacto se lleva a cabo de formas muy diferentes, casi todas ellas presentes en la ...
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