On William Gaddis: In Recognition of James Joyce

By situating James Joyce within a larger discourse about the problem of Babel, this chapter show how hieroglyphs were used to make arguments for the origin of linguistic differences. The journal transition—in which Joyce’s work was serialized—served as a clearinghouse for ideas about how a new linguistic unity might be forged: either through Joyce’s Wake-ese or through the philosopher C. K. Ogden’s universal language of Basic English. Fascinated by these theories of universal language and drawn to the anti-imperialist politics underlying them, Joyce in Ulysses andFinnegans Wake turns to visual and gestural languages—film, hieroglyphs, advertisements, and illuminated manuscripts—in an effort to subvert theories of ‘Aryan’ language and imagine a more inclusive origin for the world’s cultures. The commonality of writing and new media become in Joyce a political gesture: a way of insisting on the unity of all races and languages in a mythic past against Nazi claims for racial purity.

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James Joyce and Sergei Eisenstein: Haunting Samuel Beckett's Film

Journal of Beckett Studies ◽

10.3366/jobs.2012.0045 ◽

2012 ◽

Vol 21 (2) ◽

pp. 181-192 ◽

Cited By ~ 1

Author(s):

Katherine Weiss

Keyword(s):

James Joyce ◽

Silent Film ◽

Biographical Data ◽

Sergei Eisenstein ◽

The Past

Samuel Beckett's Film has been the focus of several articles in the past decade. While current investigations of Beckett's film are diverse, what most of them share is their dependence on biographical data to support their readings. Many scholars who have written on Beckett's failed cinematic excursion, for example, point to Beckett's letter of 1936 to Sergei Eisenstein. However, the link between Beckett's interest in film and his admiration for James Joyce has sadly been overlooked. Both Irish writers saw the artistic possibilities in film and both admired the Russian silent film legend, Sergei Eisenstein. Although there is no record of Joyce and Beckett discussing cinema or of Beckett knowing about Joyce's meeting with Eisenstein in 1929, it seems unlikely that Beckett would not have known something about these meetings or Joyce's much earlier film enterprise, the Volta. By re-examining Film and speculating on the possible three way connections between Eisenstein, Joyce and Beckett, I wish to add a footnote to Beckett studies which hopefully will lead others to wander on the Beckett-Joyce-Eisenstein trail and which will open up further discussions of Film. Beckett's film is haunted by the memory of his friendship with James Joyce and his admiration for Eisenstein's talent, both of which are visible in the screen images and theme of Film.

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Latin and Roman Culture in Joyce. By R. J. Schork. Pp. xvi+318 (The Florida James Joyce Series). Gainesville: University Press of Florida, 1997. Hb. $49.95.

Translation and Literature ◽

10.3366/tal.2000.9.part_1.126 ◽

2000 ◽

Vol 9 (Part_1) ◽

pp. 126-130

Author(s):

Vassiliki Kolocotroni

Keyword(s):

James Joyce ◽

Roman Culture

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STYLISTIC CHARACTERISTICS OF THE TEXT OF JAMES JOYCE`"ULYSSES"

International journal of word art ◽

10.26739/2181-9297-2020-2-8 ◽

2020 ◽

Vol 2 (3) ◽

pp. 58-67

Author(s):

Aygul Ochilova ◽

Keyword(s):

James Joyce ◽

Russian Literature ◽

Translation Studies ◽

The Novel

Although the work of James Joyce has been studied in English and Russian literature and translation, it has not been studied in detail in Uzbek literature and translation studies. In this work, along with revealing the problems of tradition and innovation in the work of J. Joyce, we study how the stylistic means used in the text of the novel "Ulysses" are preserved in the Russian and Uzbek translations by means of comparative-typological analysis of the original and translated texts. We identify alternatives and non-alternatives to the original Russian and Uzbek translations

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