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Copyright of Filosofija, Sociologija is the property of Lithuanian Academy of Sciences Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Brazil, James Joyce's Ulysses was translated by Antônio Houaiss (1966), Bernardina da Silveira Pinheiro (2005) and Caetano Galindo (2012), and each stand for different perspectives about his work. Translating a literary text is not only about decoding different languages, but also bringing into another culture aspects of a certain literary tradition. Joyce's masterpiece, for instance, contains a noteworthy presence of William Shakespeare's work. The Shakespearean intertext in Joyce's work contain several layers, which are reflected in the translations of the novel and must be taken into consideration in their study. In view of the foregoing, this paper introduces the starting considerations of an ongoing doctorate research that aims to examine how the Brazilian translators of Ulysses dealt with the Shakespearean references in Joyce's novel. The focus will rely on examples from the episodes "Telemachus" and "Proteus". [ABSTRACT FROM AUTHOR]

This paper, through the use of Joycean narrative inquiry, offers a qualitative narrative analysis of two types of language input the South Korean community was exposed to when the doors opened to a large number of western teachers in 1993 (i.e., General American and Received Pronunciation). Specifically, this paper provides examples of lexical choice and quotes from two groups of teachers at this time (i.e., American and British). This analysis is accomplished through a reflective narrative drawn from the style found in a story in Joyce's The Dubliners (i.e., The Dead), where groups are personified into characters, and the events of one day are presented as representative of each groups' people and their language use. Using this technique, this paper reports that the representative of each group held fast to his/her individual varieties to preserve identity. This paper also found that each representative used acts of convergence to reduce social distance. Noting that narrative inquiry is an emerging, recognized, and widely used area in the field but that the use of Joycean narrative inquiry is underrepresented, this reflection provides both a historical perspective and a starting point for future examinations of non-native speaker (NNS) communities' present use of English. Specifically, investigations into what influences such historical examples have had on present language use. Regarding the lack of research using this instrument, this paper is also offered as a starting point for the use of Joycean narrative inquiry as a research instrument in TESOL and its related fields. [ABSTRACT FROM AUTHOR]

This paper traces a deep affinity between teaching and learning, talking and walking. This affinity runs as a red thread from the Greeks walking to Delphi; to Walter Benjamin's (1992a) flâneur, the urban stroller in Paris and Berlin; to Jane Jacobs' (1961) celebration of New York's 'sidewalk ballet'; to Simmel's (1971) discussion of the metropolis, mental life, and modernity's zeitgeist; to the Chicago and Birmingham schools' ethnographies of street scenes and subcultures by Park and Burgess (1925) and Hebdige (1979) ; to Maggie O'Neill's (2018) O'Neill and Roberts (2019) use of 'walking methods' as a way into the fragile, precarious, liminal worlds of migrants, refugees, and sex-workers. O'Neill's renaissance of a deep tradition of walking-talking sociological methods resonates very well also with James Joyce's artistic, moral, political, and pedagogical method, whereby the author and his protagonists, (who are mostly people who have been crushed down and pushed to the margins by overwhelming global historical forces) and his readers (a literate, middle-class, cosmopolitan, general public) participate in and co-create a transformative walking-talking classroom convened and conducted through city streets, as exemplified in A Portrait of the Artist as a Young Man. [ABSTRACT FROM AUTHOR]

Postcolonialism speaks of those people, who have been militarily, politically, and perforce culturally subjected to another nation. This branch of criticism is worth practicing because it plays a very important role at least in the lives of the oppressed all over the world by providing them with pain relief; a pain that still continues to gnaw away at the souls of a large colonized population. Although at the mention of post colonialism most people think of African and Caribbean countries and of black people, this paper signifies that the first and oldest British colony had been Ireland; that exploitation does not make a distinction between black and white. This paper is going to find traces of anti colonialism or decolonization in Joyce's Ulysses and to show that how using the colonizer's language, the Irish novelist implicitly writes back to the empire and what extent Joyce's personality has been under the influence of post colonialism. The paper also reiterates that although Joyce regarded Irish Nationalism and Irish Literary Revival as useless and failing, he never surrendered to the language and culture imposed by the colonizer. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Most if not all comparatist studies of James Joyce and Jorge Luis Borges have focused upon the similarities between the labyrinthine aesthetics of their fiction, and not upon how they might be operating within a similar anti-colonial framework. Though Joyce has been regularly read as postcolonial since at least the 1990s, the idea that Borges can be read as a postcolonial subject remains contentious to this day. This paper, then, seeks to firmly locate Borges's own anti-colonial sympathies within Joyce/Borges comparatist studies, by examining the specific modes by which Borges came to resist (though never fully reject) his onetime hero Joyce, whose expansive, totalizing tendencies Borges came to perceive as symptomatic of the larger totalizing global imperial system. In particular, this paper analyzes how a key scene from Borges's 1948 story "El jardín de senderos que se bifurcan" ("The Garden of Forking Paths") recreates and reenacts a key scene from Joyce's 1914 story "The Dead," a comparison that has been previously unattended by critics. A comparison of these two scenes can help illuminate how Borges's fiction is as deeply embedded in anti-colonial concerns as Joyce's is reputed to be. [ABSTRACT FROM AUTHOR]

We are used to thinking of modernist works, à la Ricoeur, as 'tales about time', either as marking ruptures in time, or cycling back on time. In recent criticism, in what has been seen as a move beyond the historicism of the new modernist studies, there has been significant attention paid to the future in modernism, and indeed the futures of modernism. This paper will attend to how some of the key modernist texts of 1922, including Ulysses, Jacob's Room, and the beginnings of Mrs Dalloway, address futurity in various forms (prolepsis, prophecy, speculation), and open themselves to possible futures. More than a century on from the annus mirabilis of 'high' modernism, what accounts for the continued 'usefulness' of such works as ways of thinking about and preparing for what Joyce called 'the imprevidibility of the future'? And what are the implications for modernist studies, at this commemorative moment, of a future-oriented criticism? [ABSTRACT FROM AUTHOR]

Hume appeals to a mysterious mental process to explain how to world appears to possess features that are not present in sense perceptions, namely causal, moral, and aesthetic properties. He famously writes that the mind spreads itself onto the external world, and that we stain or gild natural objects with our sentiments. Projectivism is founded on these texts but it assumes a reading of Hume's language as merely metaphorical. This assumption, however, conflicts sharply with the important explanatory role that "spreading" and "staining" are supposed to play, which, ironically, is the very appeal of Hume's texts to projectivists. In this paper, I first consider the difficulties readers of Hume have encountered in their attempts to ascertain nature of the key psychological process. I then identify in Hume's texts novel theoretical resources that allow Hume to produce a satisfying answer to the question of process, that is, an account of the precise nature of the key process. I offer this explanation assuming what I take to be Hume's austere conception of the elements involved in the process: sense impressions and "internal impressions" lacking intrinsic intentionality. On my reading, the spreading process explains the gap between the meager input and the rich, novel output: causal, moral and aesthetic judgments. [ABSTRACT FROM AUTHOR]

Copyright of Desde el Jardín de Freud is the property of Universidad Nacional de Colombia, Escuela de Estudios en Psicoanalisis y Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Postcolonialism speaks of those people, who have been militarily, politically, and perforce culturally subjected to another nation. This branch of criticism is worth practicing because it plays a very important role at least in the lives of the oppressed all over the world by providing them with pain relief; a pain that still continues to gnaw away at the souls of a large colonized population. Although at the mention of post colonialism most people think of African and Caribbean countries and of black people, this paper signifies that the first and oldest British colony had been Ireland; that exploitation does not make a distinction between black and white. This paper is going to find traces of anti colonialism or decolonization in Joyce’s Ulysses and to show that how using the colonizer’s language, the Irish novelist implicitly writes back to the empire and what extent Joyce’s personality has been under the influence of post colonialism. The paper also reiterates that although Joyce regarded Irish Nationalism and Irish Literary Revival as useless and failing, he never surrendered to the language and culture imposed by the colonizer.

There are three nets that shape the basic notions in Joyce's works: religion, language and nationality. The dilemma of his plots revolves around at least one of these issues. Joyce believes that for a man to seek and reach the true nature of freedom in his life, it is necessary to leave these boundaries behind. Usually in most cases, one of the characters in Joyce's writings is captive by those nets. They are put in a dramatic situation in which a revelation would lead him/her to an epiphany. Joyce's use of symbolism and realism and also his different layers of narration is what endow significance, life and glamour to the simple plots of his stories. The main point of concentration in this paper is to define the notion of paralysis in terms of symbolism and narratology, respectively in the two short stories "Araby" and "Eveline"; to show how different symbols and different voices draw upon the desired theme of the author; how religion, language and nationality are packed into variant symbols in order to enhance their significant function in issue of paralysis and how the various methods of narration can depict the nature of paralysis with which the characters struggle. [ABSTRACT FROM AUTHOR]

The paper discusses the complex relation between the postcolonial theory and the Joyce studies that enabled the introduction of the concept of a postcolonial Joyce. Starting from a comparison, proposed by Derek Walcott, between the writings of the Martiniquais author Patrick Chamoiseau and James Joyce, the analysis draws attention to the transformations of the postcolonial fi eld that make such comparisons possible. The paper goes beyond the common postcolonial theoretical concepts and proposes that it is the very failure of the postcolonial theory to deliver the expected specifi c answers to the colonial questions that makes the postcolonial - in its solitude and bitterness - sensible in the context of Joyce's poetics. [ABSTRACT FROM AUTHOR]

This paper analyses James Joyce's short story Counterparts from the perspective of the narrator and the concept of focalization. The paper begins by giving a brief theoretical exposition of the two terms 'narrator' and 'focalization' and proceeds to examine the text in its natural narrative sequence. Joyce's skilful manipulation of focalization as a narrative tool takes the reader on a journey through the protagonist's private thoughts and feelings as the events in the story unfold. The focalization keeps on shifting as the action advances in its temporal and spatial parameters. The reader gets a glimpse into the consciousness of the main character as encapsulated in the narrative leading to multiple cognitive interpretations. [ABSTRACT FROM AUTHOR]

The article presents a comparative analysis of the relationship between the narrator and the main character in the structure of flash fiction by A.P. Chekhov and J. Joyce. The authors conclude that there are typological similarities in the relationship between the narrator and the main character in the flash fiction of A.P. Chekhov and J. Joyce. This was influenced by the global trend in literature at the turn of the 20th century, according to which the role of the author as an omniscient and omnipresent demiurge of the fictional world started to wane. The paper puts forward that the unique entwinement of the narrator's and the main character's voices in A.P. Chekhov's and J. Joyce's short stories is the main structural-constructive factor of the free indirect speech and contributes to revealing the subtle creative substance of the works. [ABSTRACT FROM AUTHOR]

Jacques Lacan was one of the most controversial analysts of our time. He lectured and practiced in Paris form 1936 to 1980. Lacan's radical return to Freud in the 1950s involved a return to the importance of the unconscious, as opposed to the emphasis on the ego; he stated that the unconscious is structured like a language. Lacan's own interest in psychosis as a practicing psychiatrist predates his psychoanalytic interest. In his third seminar on The Psychoses (1956). Lacan approached psychoses with reference to the subject of speech and language, dialectics of communication and Hegelian recognition. This paper explores how Lacan's idea of the ‘ego as an imaginary identification’, ‘the foreclosure of the name of the father in psychosis’ with it's adjacent ‘push to the woman’ are applied in a psychoanalytic treatment of a case of psychosis. In his last seminar ‘The Sinthome’ (1973) Lacan developed a new theory by referring to Joyce's art and it's function to aim at a fourth knot. The presentation of this clinical vignette will further illustrate how Lacan draws a distinction between ‘the Symbolic’, ‘the Imaginary’ and ‘the Real’ and how the patient's own creative productions are functioning to repair the structural fault of the knotting of these three registers. [ABSTRACT FROM AUTHOR]

My paper addresses the non-human turn in Joyce's work from the perspective of genetic phenomenology. I begin by commenting on Joyce's characterization of Molly Bloom as a non-human apparition. I unpack the notion of a non-human apparition in light of Joyce's interest in the idea of the earth as a generative matrix, and I relate this idea to a genetic enquiry into problems of passive synthesis and the givenness of objects to sense perception. I then trace the elaboration of this theme in a cluster of rhetorical figures from the later novels--puns, clichés, and metonymic associations--that play on the senses of matrix, materiality, and the sex of the mother. The second part turns to representations of the earth in Finnegans Wake. Focusing on scenes of interment and becoming one with the landscape, descriptions of tombs as echo chambers, and of geological sites as giant human bodies, I read Joyce's earth as the crowning expression of his experiments with a radical (pre- and post-human) phenomenology. [ABSTRACT FROM AUTHOR]

In the present era binaries like poesis/techne or art/non-art are becoming increasingly tenuous with the emergence of New Media art cultures, where technology becomes an integral part of artworks. A spurt of commentaries regarding how New Media has redefined the cognitive, perceptual and artistic limits of what is traditionally regarded as art has resulted. However, there is a dearth of literature on how the conceptual vocabulary of contemporary or traditional art/literary practice has seeped into the precincts of the New Media art world. This, unfortunately, accounts for the current disconnect between contemporary art (which is conceived as conceptual art that is self-reflexive and meta-critical in character) and New Media art discourse (whose distinguishing feature is its tryst with technological implements). In an effort to bridge the conversational lacuna between the literary and the new media art disciplines, this paper indicates formal/structural tendencies in James Joyces's novel Ulysses and Samuel Beckett's short story Ping that evince receptive/interpretive tactics which significantly anticipate trends in Media art of the current times. [ABSTRACT FROM AUTHOR]

The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce's Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter "Sirens" is the most interesting in this context as it features a "musical" form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version of the sea world filled with music, creating a system of musical leitmotifs and lexical patterns within the text. Developing the themes of temptation, the danger that temptation entails, doom, uniting with the vital forces of the world, and loneliness, Joyce in "Sirens" reveals the semantics of music, showing the specific nature of its effect on listeners. Vladimir Nabokov, who praised Ulysses and devoted a lecture to "Sirens", is much less musical than Joyce. However, he, like Joyce, also refers to the images of singing sirens and the accompanying images of the aquatic world. One of the central, meaning-making signs in his work is the "Sirin complex", his pseudonym. This sign, which refers to a large number of pretexts, refers in particular to the lilac (siren') and to the mythological "musical" sirens. As in Joyce's work, sirens are present in his texts as mermaids and naiads, or as figures of seducers who fulfil their function and bring doom. Joyce and Nabokov are also united by the presence of recurrent leitmotifs, lexical patterns, and the presence of auditory impressions in their text that are evoked by the sound of the everyday world. [ABSTRACT FROM AUTHOR]

This paper argues that attending to the tropes of circularity featuring in print-based literature proves to be a useful foil for an analysis of electronic literature. Based on the idea that digital literary mechanisms do not obliviate previous circularity-inducing structuring motifs in analog literature, such as labyrinths, chess, rivers, and clockwork, this argument arrives at a crucial time for literature, which is currently the object of intensified debates on beginnings and ends, especially in the context of digitality and multisensory perception becoming central to some aspects of its processes. Accordingly, circular motion is here analysed in its depiction and actuation across several kinds of literary / literal machines, in reflection also on how sensory perception both mediate and is mediated. If literature is conditional upon a series of unique, though interconnected, mechanisms, it seems reasonable not to discard a certain circularity of the senses that is brought into play there and, indeed, given both thematic and formal substance in analog and digital works. In other words, representations generated at the confluence of both biological and technological bodies cannot but instigate a circularity on which they are dependent: an idea which this article examines and critiques with reference to canonical and electronic literature, particularly Borges, Beckett, and Joyce. [ABSTRACT FROM AUTHOR]

In his undeniable masterpiece Ulysses (1922), Joyce blurred the limits between fact and fiction from the very beginning as he announced his desire to provide an extremely detailed picture of Dublin, so complete, in fact, that the city could be reconstructed out of his book, if necessary. An exile on the Continent (Trieste, Zurich and Paris) from a very early age, Joyce always wrote of Ireland and his tribute to the Irish capital in Ulysses inspired a very original and unique annual celebration. It is called Bloomsday - after Leopold Bloom, the protagonist of Ulysses - and it is commemorated on June 16, mirroring the novel's action set on June 16, 1904. The purpose of this paper is twofold: to analyse how Joyce's modernist Dublin odyssey shares some traits with travel writing and to understand the importance of Ulysses and its annual celebration to boost literary tourism in Ireland. [ABSTRACT FROM AUTHOR]

Copyright of Icono 14 is the property of Grupo Icono 14 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal for Languages & Literatures of the Faculty of Philosophy in Novi Sad / Zbornik za Jezike i Knjizevnosti Filozofskog Fakulteta u Novom Sadu is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the "stone of stumbling" theme in "Finnegans Wake." The ambiguous nature of the stone—both foundation stone and stumbling block—is traced through the Old and New Testaments, the church fathers Barnabas, Pseudo-Dionysius, Chrysostom, and Origen, and the literary figures Swift and Beckett. For Joyce, what was a fatal flaw in the plan of the master builder became a methodology for discovery. Following Origen's dictum to "search the scriptures till you find a stumbling block," Joyce loaded his last work with offences and scandals. In this way he used stumbling, falling, and erring as "portals of discovery" in his never-ending linguistic adventure. He also passed on this technique to his great disciple Samuel Beckett—one of the master stumblers of the twentieth century. [ABSTRACT FROM AUTHOR]

Copyright of Lectora: Revista de Dones i Textualitat is the property of Lectora: Revista de Dones i Textualitat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Athena: Filosofijos studijos is the property of Lithuanian Culture Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses two well-established medievalist sources for Finnegans Wake, French philologist Joseph Bédier's Roman de Tristan et Iseut and Sir Edward Sullivan's manuscript study The Book of Kells. Asking how Joyce interprets this material, the article establishes a relationship whereby the text strategically corrupts his sources to engender the experience of encountering a text as a philologist. By discussing the ideological commitments of these scholars, in particular Joseph Bédier, the essay posits that this philological experience has a democratizing effect: it inverts the nationalistic logic underpinning the discipline, evinced even in Bédier's 'best-text method'. Finnegans Wake's own 'worst-text method', contrastingly, displays a commitment to re-envisioning and modifying readerly experience by renewing medieval textuality for a contemporary readership. [ABSTRACT FROM AUTHOR]

This paper analyzes two references proposed by Lacan that apparently pose a paradox: in the first reference, in 1975, he stated that Joyce is an unsubscribed from the unconscious; in the second one, in 1976, he affirmed that Unconscious and Real in Joyce are tied one to another, which lead us to ask this question: from which unconscious is Joyce unsubscribed? This way, the author intends to examine the rule of unconscious in Joyce’s case, as explained by Lacan in 1975-1976. If Lacan considers the Unconscious structured like a language to be a lucubration of knowledge in relation with lalangue, this paper will show how Joyce finds a particular answer for the issue of joy that does not pass through that lucubration. // En el presente trabajo se retoman dos referencias de Lacan que plantean una aparente paradoja; en la primera, de 1975, habla de Joyce como desabonado del Inconsciente, en la segunda, en 1976, dice que en Joyce Inconsciente y real se anudan, razón suficiente para preguntarse ¿De qué Inconsciente está desabonado Joyce? Así, se pretende interrogar el estatuto del Inconsciente en el caso de Joyce, tal como lo aborda Lacan en 1975-1976. Si para Lacan el Inconsciente estructurado como un lenguaje es una elucubración de saber sobre lalengua, este recorrido permitirá ver cómo Joyce encuentra una respuesta singular al problema del goce que no pasa por dicha elucubración.

Copyright of Jezikoslovlje is the property of University of Osijek, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to work the thematic of the voice, the music and the trait in James Joyce, his father John and his daughter Lucia in order to think about the question of the elevation of the symptom of the lack of the father through the writing of James Joyce in his literary work as well as though the relation of Lucia with the dance. Our proposal is to reflect about the writing of Joyce to think about the relation between a possible writing of the voice and the invocation to the Father, as well as the transmission of the voice made in these three generations of the Joyce family in what each one of them could, in different ways, create guided by the real. [ABSTRACT FROM AUTHOR]

Simon Swift Kant, Herder, and the question of philosophical anthropology This paper responds to a recent resurgence of interest in Kant's anthropological thinking, which challenges the view of his indifferentism or ethical disinterest in some postmodern readings of him. Kant's theory of reflective judgement is, contra readings of its formalism, bound up with his anthropological speculations and philosophy of history. I challenge in particular Gayatri Spivak's deconstruction of Kant, which assumes that the ‘native informant’ is foreclosed as a condition of possibility of his theory of an autonomous reflective judgement. Reading Kant's anthropological openness against the grain of Spivak's, and also J.G. Herder's defences of anthropological particularity from an aggressive Enlightenment universalism further reveals unexpected dimensions in Kant's treatment of rhetorical figures, anthropomorphism in particular. I aim finally to recover an account of the ways in which rhetorical figures might aid in the articulation of philosophical truth claims, in place of the assumption in postmodernism that truth and figure are antagonistic. [ABSTRACT FROM AUTHOR]

Standard adaptationist accounts of our moral psychology are motivated largely by our moral successes—empathy, altruism, cooperation, and so on. But a growing body of social psychology research indicates that our moral successes are, if anything, exceeded by our moral failures. One influential reason for such failure, according to the findings, is that compliance with moral norms—when it occurs—is motivated not by an intrinsic interest inbeingmoral, but by an interest in appearing moral. I argue, first, that such research represents a dilemma for standard adaptationist accounts. On the one hand, if the standard account asserts that moral judgment evolved to regulate behavior by ensuring moral compliance even when tempted by egoistic gain, then we should observe regular moral compliance even when tempted by egoistic gain. But this is precisely what the data do not show. On the other hand, if the standard account asserts that moral judgment evolved simply to make moral compliance moral likely, then this puts the standard account in direct competition with other, more modest, accounts, ones that limit evolution's role to what I call social compliance. [ABSTRACT FROM AUTHOR]

Many deem James Joyce’s Finnegans Wake an untranslatable novel. Despite this, the characteristics that appear to obscure its meaning, such as semantic multiplicity and experimental syntax, also make it particularly open to interpretation and resignification—thus, to translation. The present paper proposes a flexible, creative, playful, and free approach to its translation. I discuss the possibilities derived from such an approach through the analysis and translation of fragments of Finnegans Wake into Spanish, and I support this approach to the translation process with some of the most prominent research on the translations of Joyce’s works, up to date scholarship from Translation Studies, and relevant testimonies from Joyce himself and from translators and writers who have studied his literary production. I argue that Finnegans Wake is a text that tries to capture language itself, transcends linguistic barriers by resisting rigidity of meaning, and achieves an “openness” and freedom that, paradoxically, have somewhat limited the efforts to translate it. Therefore, I propose that if Joyce did not limit himself in his creative process, it is necessary that we, as readers and translators, accept without fear the challenges presented to us by Finnegans Wake and dare to create new art from it.

Can an agent deliberating about an action A hold a meaningful credence that she will do A? 'No', say some authors, for 'deliberation crowds out prediction' (DCOP). Others disagree, but we argue here that such disagreements are often terminological. We explain why DCOP holds in a Ramseyian operationalist model of credence, but show that it is trivial to extend this model so that DCOP fails. We then discuss a model due to Joyce, and show that Joyce's rejection of DCOP rests on terminological choices about terms such as 'intention', 'prediction', and 'belief'. Once these choices are in view, they reveal underlying agreement between Joyce and the DCOP-favouring tradition that descends from Ramsey. Joyce's Evidential Autonomy Thesis is effectively DCOP, in different terminological clothing. Both principles rest on the so-called 'transparency' of first-person present-tensed reflection on one's own mental states. [ABSTRACT FROM AUTHOR]

Cognitive stylistics provides a framework for analysis of conceptual metaphors in literature, as a way to approach fictional characters' mind styles. Here, cognitive linguistic tools are applied to characterize the metaphorical expressions of emotion in James Joyce's A portrait of the artist as a young man. A number of conceptual metaphors were identified in relation to anger, lust, shame, pride, fear, happiness and sadness, among others. Creative uses of language came to light, both by means of novel conceptual mappings and original linguistic realizations of more conventional metaphors. Original expressions revealed aspects of mind style of the novel's main character, particularly in relation to his struggle with negative emotions. For example, anger and resentment are conceptualized as a sort of covering that could be effortlessly detached from the body, while shame-related feelings are experienced as threatening floods. From a methodological perspective, this study illustrates the advantages of cognitive stylistic tools for the analysis of literary work. [ABSTRACT FROM AUTHOR]

Critical editions of 'Complete Works' are typically organized in a teleological manner, using each of the author's published works as an endpoint. In addition to this useful tradition, this article suggests a 'dysteleological' approach. The term 'dysteleology', indicating that evolution has no inherent goal, was coined in the years leading up to Modernism. The existence of vestigial organs served as an example to corroborate the 'dysteleological' view. A writer's unused notes may be regarded as similarly 'vestigial'. They are purposeless from a teleological point of view, but they are crucial elements in the study of creative writing processes ('genetic criticism'). These elements have their rightful place in a scholarly edition, and it is therefore necessary to complement a teleological editorial tradition with a 'dysteleological' approach. To corroborate this argument, the article examines works by James Joyce and Samuel Beckett, as well as by less canonical authors such as Raymond Brulez. [ABSTRACT FROM AUTHOR]

Eimear McBride's A Girl Is a Half-formed Thing (2013) is a prime specimen of post-Joycean heteroglossia in Irish fi ction. The novel exhibits a programmatic dialogical/intertextual orientation orchestrated with its own parodic and ironic modes, which makes McBride's work uniquely capable of re-energizing Irish cultural tradition. Simultaneously, her novel contributes its own distinct voice to the impressive amplitude of artistic expressions which have emerged from Irish culture in the wake of Joyce's writings. Mikhail Bahtin's approach to the novel (as discussed in The Dialogic Imagination), in turn, is particularly relevant to McBride's fi ction because of her incorporation (as well as adaptation) of a variety of voices and perspectives. As a consequence, in A Girl Is a Half-formed Thing, the categories of heteroglossia and dialogism appear to be responsible for creating and sustaining a vital cultural dimension, a dimension which is subject to being perpetually rewritten in the present, even though it crucially depends upon ur-texts from the past. [ABSTRACT FROM AUTHOR]

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Copyright of GeoHumanities is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Oceanic Studies sheds a compelling new light on James Joyce's Dubliners. Although they are citizens of a major imperial port city living amidst a global flow of goods, cultures, and ideas, Joyce's characters are n also impeded from reciprocal engagement in this circuitry. From Eveline, who stands paralyzed at the docks by the North Wall as 'all the seas of the world tumble about her heart', to the boys of 'An Encounter', who marvel at tall ships but are imprisoned by social dichotomies, to Jimmy Doyle's ill-fated efforts at cosmopolitanism on board an American yacht, to the latent Gaeltacht musings of Gabriel Conroy, a would-be European son of a Dublin Port and Docks board member, Joyce uses water to help identify a persistent desynchronization of national and global Ireland. [ABSTRACT FROM AUTHOR]

Aesthetic moments of revelation – intense, sensual, internal, and individual –are so key to modernist culture that the idea of them in criticism has become commonplace. Here I seek to breath life into this humdrum formula of modernist criticism by exploring multiple responses to an alternative moment amongst British cultural figures: the declaration of War against Germany at 11.15 on September 3rd, 1939. This was also an intense moment, but it was social, political, communal, mediated and disseminated publicly by new technologies. As my archival research here reveals, a wide spectrum of responses were recorded, so we can think of such a moment as ‘prismatic’. I will also show how this moment was a shock to culture, which went into a state of suspended animation. As well as offering critiques of the moment as a fetishised form, I argue that modernist culture and the idea of the moment would never be the same again. [ABSTRACT FROM AUTHOR]