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James Joyce's Finnegans Wake (1939) confounds 'common readers,' an elitist epithet for those who might otherwise be termed non-academic, non-specialized, non-conscripted, non-professional, or plain readers of Joyce. The flattened image of this common reader, as it is often constructed within Joycean and modernist thought, is at odds with the heterogeneity of actual readers, as well as with the anticipated common reader whom Joyce writes into the text of the Wake itself. Nevertheless, there is a commonality which unites the varied constructions of this reader: that aurality or listening to the text is for them the most viable method of accessing something as difficult as the Wake. In this article, I interrogate the constructions of this common reader to arrive at the meaning of an aural common reading of Joyce. Through a reading of the Wake, I argue that aurality as a mode of accessing the text is sanctioned by its design, and further, that the instability of listening facilitates the reader's recognition of that design. I also suggest that an aural common reading of the Wake constitutes a challenge to its authoritative and authorized readings, and reconfigures notions of its ownership. [ABSTRACT FROM AUTHOR]

The essay demonstrates the relationship between specific figures of discourse dominant in particular novels and the thematic concerns or plot patterns of each individual novel. The figures discussed are (1) enthymeme, prominent in Laurence Sterne's Tristram Shandy and important also in Joyce's Ulysses; (2) hypallage, part of the rhetoric of Dickens's A Tale of Two Cities, reflecting its plot pattern and its cluster of concerns; and (3) blazon, which helps to convey the implied author's critique of the attitudes of the first-person narrator of Lolita. [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]

Illicit or non-normative sentimental relationships appear repeatedly in many of the short stories that comprise James Joyce’s Dubliners (1914). This type of emotional link did not have any room in end-of-century Catholic Ireland, and any unorthodox relationship was regarded or punished as sinful and socially unacceptable, following the strict morality of the times. In this article, I intend to analyse some of the most significant stories in Dubliners, in order to dissect the ways in which late nineteenth-century Dublin’s double standards punished any subject steering away from established social norms concerning marriage and acceptable relationships, either by forcing the reclusion of the subjects to the domestic/private sphere or by imposing a normative marriage on them, or even by pushing them to the brink of madness, alcoholism, or suicide.

This article examines central ideas from Jacques Lacan's later psychoanalytic theory on psychosis. In the 1950s, Lacan formulated a structural model of psychosis, asserting that the central element of symbolically organized mental life, the Name-of-the-Father, is missing, leading to a latent vulnerability for psychotic episodes. In the 1970s, Lacan made significant changes to this model by introducing two new concepts: Father-of-the-Name and père-version. These concepts are plays on the original Name-of-the-Father concept and refer to two other aspects of the father function: the creative act of naming and embracing modes of life, respectively. Furthermore, in the 1970s, Lacan suggested that creating coherence in mental life does not necessarily require an exemplar of a paternal identification figure. Drawing from the case of the modernist writer James Joyce, he argued that singular inventions can just as effectively establish stability. This argument is elaborated upon by introducing the concepts of "sinthome" and "escabeau." [ABSTRACT FROM AUTHOR]

This study holds an interest in the short story “Eveline” by James Joyce as a psychological story that projects a realistic description of an individual’s complex thoughts at moments of decision. A nineteen-year-old woman, Eveline stands by a window in her room watching the evening and listening to passing footsteps but meanwhile brings into her mind memories and thoughts about herself and her family, past, present, and future. By using the psychological theories of Sigmund Freud of the conscious and the unconscious, this article endeavors to elucidate Joyce’s narration of Eveline’s stream of consciousness as she decides to elope with her lover Frank. While representing the character’s psychological structure graphically, I demonstrate that her psychic activity consists of repressed energy and of activity of all levels of consciousness. Finally, this study ultimately presents a feminist and materialist analysis of “Eveline” that projects the conditions of early twentieth- century Dublin.

Review of: Thomas J. Cousineau, The Séance of Reading. Uncanny Designs in Modernist Writing, Bucharest, Bucharest University Publishing, 2023

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]

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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]

In 1904, Joyce launched his satirical broadside, “The Holy Office”, attacking the members of the Abbey Theatre. For the young Joyce, it appeared “that mumming company”, run by Yeats and Lady Gregory, had “surrendered to the popular will”. He craved to show how he had broken away from what he considered the folksy, pseudo Irishness of “gold-embroidered Celtic fringes” and those who in their “foolishness . . . sigh back for the good old times” (Occasional, Critical, and Political Writings 28) – times encapsulated, for him, in Cathleen ni Houlihan. Despite telling us that “Cathleen was received with rapturous applause”, Stanislaus Joyce stresses the fact that his brother “was scornful and indignant that Yeats should write such political and dramatic claptrap” (My Brother’s Keeper 187). In “Telemachus”, the more mature Joyce took the opportunity to put his art at the service of his taste for personal and literary revenge through incorporating a brief, parodic take on Yeats and Gregory’ play through the scene with the milk woman. By setting “Cathleen” before his “cracked lookingglass” (Ulysses 6), he was able not only to explore an ironic echo of various tensions between the colonised Irish and the colonising Englishman, but also to ridicule the romanticised view of Ireland presented by much Celtic Revival writing – including drama – at the time Ulysses was set, and that would extend well beyond the time in which it was written and published.

In the first part of the following essay, I deal with the difference between two words, which are similar in English – “genre” and “gender” – but different, both in the written way and in sound. The Italian translation of genre and gender is just one word: genere. There is no difference in the way they are written or even in the sound. Actually, “genre” and “gender” in English have two completely different meaning, I would say that they are one – “genre” – the opposite to the other – “gender”. “Genre” means something unique and singular, it is a term used within modernity for indicating the style of an author as a subject of a work of art, poem, or literary piece. “Gender” is an ancient word; it belongs to the 13th Century; “gender” emphasizes the ideal perspective that reality has to be divided and administrated in sets of things, which have something in common: categories. In the second part of the essay, I analyse freakery and monstrosity as the way to put singularity at the margins, using categorization. Nonetheless, such a discrimination and marginalization of weird and filthy (what is not part of ideal reality), has the paradoxical effect to make such a residual and excluded part more curious and attractive. Any gender has its own haecceity, which, at its time, must be categorized, but not without a residual part that is still another haecceity, in an infinite process of becoming.

While fictional orality (spoken language in fictional texts) has received some attention in the context of quantitative register studies at the interface of linguistics and literature, only a few attempts have been made so far to apply the quantitative methods of register studies to interior monologues (and other forms of inner speech or thought representation). This article presents a case study of the three main characters of James Joyce’s Ulysses whose thoughts are presented extensively in the novel, i.e., Leopold and Molly Bloom and Stephen Dedalus. Making use of quantitative, corpus-based methods, the thoughts of these characters are compared to fictional direct speech and (literary and non-literary) reference texts. We show that the interior monologues of Ulysses span a range of non-narrative registers with varying degrees of informational density and involvement. The thoughts of one character, Leopold Bloom, differ substantially from that character’s speech. The relative heterogeneity across characters is taken as an indication that interior monologue is used as a means of perspective taking and implicit characterization.

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]

In the illustration accompanying ‘!CEÓL!’ (!Music!), Brian Ua Nualláin’s 1932 Irish-language story about radio and gramophone music, Ua Nualláin uses an established but outdated spelling of ‘ceol’ to suggest a polysemantic pun. This pun is significant given the story’s subtitle – ‘Eachtra an Fhir Ólta’ (The Tale of the Drunkard) – because it places ‘ól,’ the Irish word for drink, inside the word for music, ‘ceol.’ The resulting portmanteau in Ua Nualláin’s illustration is interfusional in Thomas King’s sense, because it blends the textual with the oral. The orthography Ua Nualláin uses for his visual representation of ‘!CEÓL!’ draws attention to how the word is spoken, and the stress on the second half of the word makes it sound drunken. We argue that the story’s implied title, ‘Drink-Music,’ thematises intertextual play in ways that anticipate Ua Nualláin’s Middle Irish Joycean pastiche ‘Pisa bec oc Parnabus’ (1935/1938). This note provides the first critical discussion of the ‘!CEÓL!’ illustration, observing the presence of Ua Nualláin’s initials in the bottom right-hand corner of the image.

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.

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]

While fictional orality (spoken language in fictional texts) has received some attention in the context of quantitative register studies at the interface of linguistics and literature, only a few attempts have been made so far to apply the quantitative methods of register studies to interior monologues (and other forms of inner speech or thought representation). This article presents a case study of the three main characters of James Joyce's Ulysses whose thoughts are presented extensively in the novel, i.e., Leopold and Molly Bloom and Stephen Dedalus. Making use of quantitative, corpus-based methods, the thoughts of these characters are compared to fictional direct speech and (literary and non-literary) reference texts. We show that the interior monologues of Ulysses span a range of non-narrative registers with varying degrees of informational density and involvement. The thoughts of one character, Leopold Bloom, differ substantially from that character's speech. The relative heterogeneity across characters is taken as an indication that interior monologue is used as a means of perspective taking and implicit characterization. [ABSTRACT FROM AUTHOR]

'A Mother' by Joyce tells of Mrs. Kearney's effort in enhancing her daughter's musical reputation during the Irish Revival, revolving around a conflict between Mrs. Kearney and a male-dominated group at concerts. Although some studies tend to view Mrs. Kearney as a dominant female and others take her as a victim of gender discrimination, there is no interpretation from the perspective of social minds. This article aims at using social mind theory to explore how the characters manipulate social minds against each other for their own purposes. It is found that Joyce deploys 'covert double cognitive narrative', a new paradigm of social minds, to propel the plot, and utilizes behaviourist narration and dialogue predominantly in rendering social minds. Therefore, this new perspective commands a panoramic view of the social minds manipulations in 'A Mother'. Tracing the social minds this way is essential in understanding the story, shedding light on the Irish cultural paralysis of the time. [ABSTRACT FROM AUTHOR]

The following article off ers a theoretical interpretation of Nabokov’s aphorism on Joyce’s inner monologues. Nabokov supposed that thinking is extraverbal and cannot be fully embodied in a word. He assumed that James Joyce was wrong to materialize the stream of inner life in a rigid verbal form. For Nabokov, thinking as an uninterrupted continuum of psychological states, should be opposed to the ‘stream of consciousness’ technique and should be moved towards the lyrical synthetism. In order to embody the narrative mode, the author puts forward the method of synthetic technique, which dissolves the word material in the pervasive fl ow of meaning. The unifi ed meaning of the word undergoes deformation and gains a fl exible, fl uid-like form, pours/merges completely with other words, forming a versatile palette of meanings. Nabokov’s fundamental principles were structurally related to the intuitive philosophy of A. Bergson, who considered the ‘stream of consciousness’ as an indivisible melody, but an improperly considered artistic montage of mental states (in Joyce’s prose). Theorists of the ‘stream of consciousness’ (L. S. Vygotsky, A. Bergson) assumed that the ‘stream’ cannot be divided into moments, objects and forms, it is a syncretic formation, which cannot be subjected to the reverse decomposition into words. Applied to literature, this statement means literature cannot be retold. Then the author comes to the conclusion that Nabokov’s late prose is substantially synthetic, it implements the principle of duration at the deepest level of speech, which allows us to say that the Russian-speaking writer completely actualized the principles of Bergsonism when in the Gift, through the flowing speech, he portrayed consciousness as elusive and indefinable. Thus, the facts of Godunov-Cherdyntsev’s spiritual life cannot be grasped by intellectual means, they can only be contemplated intuitively.

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Book review: ŞORCARU, Daniela, 2021, Ways of Pleating Stylistic Functions, Beau Basin, Mauritius: Lambert Academic Publishing. ISBN: 978-620-3-47272-1, 236 pp.

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.

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In one of her least pejorative references to Joyce, Christine Brooke-Rose cites him as an example of a writer who shares with philologists a 'dotty' passion for the history of language. Coming in the middle of her students' guide to Ezra Pound, this claim assigns linguistic sentiments to Joyce that Brooke-Rose would go on to express herself. In an interview nearly five years later, she describes a 'passionate concern with language' that borders on 'the feeling of the sacred': 'I've always had it. I studied philology'. This essay unearths a vein of Joycean philological imaginings in Brooke-Rose's work that seeks to intertwine the textual and the biological, evoking a 'sensuous' script from a mythical prehistory. Focusing on Between (1968), I trace an intricate ambivalence over the relationship between sign and matter that ultimately feeds into Brooke-Rose's attitudes towards poststructuralism, gender, and language as a whole. Hovering between the sacred and the profane, the dotty and the down-to-earth, these imaginings also serve to draw out the latent continuities between the ancient hunt for a motivated script and the contemporary search for semiosis in nature; between Babel and biosemiotics. [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]

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]

My article will seek to interpret Bloom's trials and tribulations in the 'Circe' episode through Derrida's insight that 'between sovereign, criminal and beast, [there exists] a sort of obscure and fascinating complicity', as a way of considering consider what Joyce teaches us about the interplay between human and nonhuman rights in the episode and across Ulysses (B&S, 17). An analysis of these intertwined categories of being in the episode will reveal how 'Circe' emerges from Joyce's earlier work, such as 'Ireland at the Bar' (1907), in exploring how the sensational violence of colonialism violates both human and animal bodies and reflecting Derrida's sense 'that the animal is already political' (B&S, 14-15, my italics). Moving beyond 'Circe', my essay will function as a case study through which we might address the value of contemporary animal studies approaches to the politics of Joyce's Ulysses, often alongside and sometimes in contrast with a tradition of postcolonial modes of thought, ahead of its centenary. [ABSTRACT FROM AUTHOR]

El análisis comparativo de dos obras del artista multidisciplinario Samuel Beckett —El innombrable (texto literario) y No yo (video-arte y pieza teatral)—, de sus declaraciones y de la obra de dos escritores que influenciaron su trabajo (James Joyce y Stéphane Mallarmé) nos llevará a distinguir en el proceso creativo de Beckett la constitución de una investigación artística (sin fronteras disciplinares) comprometida con una idea precisa de arte y con un proyecto artístico radical que marcarán de manera singular todo su proceso y su devenir sujeto-artista.

The seventeenth and eighteenth centuries witnessed the transition from the Scholastic thought to modern philosophy and this detachment rendered the continental philosophical works increasingly sceptical. René Descartes attributed the notion of truth to cognitive processes; Jean-Jacques Rousseau and Immanuel Kant critiqued the mainstream thoughts in the centuries they lived in and enhanced the destabilisation of widely accepted notions by way of questioning the transcendental notion of Truth itself. Rousseau’s emphasis on individual truth and virtue and his critique of the corruptive effects of civilisation under the disguise of sciences and arts directly influenced Modernist thought and literature, besides French and American Revolutions and Romanticism. Prioritising personal truth and relative nature of values and with his conception of maturity, Kant also advocated free thinking and questioning acquired knowledge and values. The influence of these three philosophers is often underestimated in the analyses of modernist fiction. Thus, this article intends to analyse James Joyce’s A Portrait of the Artist as a Young Man in reference to Descartes’ “Meditations on First Philosophy", Rousseau’s “Discourse on the Sciences and the Arts" and Kant’s "An Answer to the Question: What is Enlightenment?" to discover the changing notions of truth, value and knowledge.

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]

Resumo O artigo parte da interrogação: em que sentido o recurso à escrita de James Joyce abala a axiomática do ensino de Lacan, centrada no estruturalismo linguístico? O artigo visa, então, localizar a relevância do recurso a Joyce na reformulação do conceito de inconsciente. Por meio do levantamento conceitual sobre a definição do conceito de inconsciente, no ensino de Lacan, foi possível problematizar a validade do recurso à linguística estrutural para definir o conceito de inconsciente, interrogando o deslocamento desse recurso teórico para a obra de Joyce. A hipótese do artigo é que a evidência clínica da fala imposta, em um paciente psiquiátrico, e na própria experiência de Joyce, impôs à Lacan o trabalho epistemológico de problematizar o estatuto do significante como representativo do sujeito do inconsciente e, a partir daí, elaborar o conceito de inconsciente em sua relação com a experiência de gozo, e não em relação ao significante.

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.