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Giving her back her voice, the long-lost letters of Sylvia Beach to James Joyce uniquely document her unwavering support even beyond her role as publisher of Ulysses, while also revealing her difficulties with his demanding personality and signs of their eventual breach.
James Joyce's Finnegans Wake has repeatedly been declared to be entirely untranslatable. Nonetheless, it has been translated, transposed, or transcreated into a surprising variety of languages including complete renditions in French, German, Portuguese, Dutch, Japanese, and Korean, and partial renditions in Italian, Spanish, and a variety of other languages. Impossible Joyce explores the fascinating range of different approaches adopted by translators in coming to grips with Joyce's astonishing literary text. In this study, Patrick O'Neill builds on an approach first developed in his book Polyglot Joyce, but deepens his focus by considering Finnegans Wake exclusively. Venturing from Umberto Eco's assertion that the novel is a machine designed to generate as many meanings as possible for readers, he provides a sustained examination of the textual effects generated by comparative readings of translated excerpts. In doing so, O'Neill makes manifest the ways in which attempts to translate this extraordinary text have resulted in a cumulative extension of Finnegans Wake into an even more extraordinary macrotext encompassing and subsuming its collective renderings.
James Joyce's astonishing final text, Finnegans Wake (1939), is universally acknowledged to be entirely untranslatable. And yet, no fewer than fifteen complete renderings of the 628-page text exist to date, in twelve different languages altogether – and at least ten further complete renderings have been announced as underway for publication in the early 2020s, in nine different languages. Finnegans Wakes delineates, for the first time in any language, the international history of these renderings and discusses the multiple issues faced by translators. The book also comments on partial and fragmentary renderings from some thirty languages altogether, including such perhaps unexpected languages as Galician, Guarani, Chinese, Korean, Turkish, and Irish, not to mention Latin and Ancient Egyptian. Excerpts from individual renderings are analysed in detail, together with brief biographical notes on numerous individual translators. Chronicling renderings spanning multiple decades, Finnegans Wakes illustrates the capacity of Joyce's final text to generate an inexhaustible multiplicity of possible meanings among the ever-increasing number of its impossible translations.
The first-ever U.S. edition of this delightful gem based on a letter Joyce wrote to his grandson, revealing the modernist master’s playful side—filled with one-of-a-kind illustrations—the perfect gift for Joyce fans and cat lovers alike. The Cats of Copenhagen was first written for James Joyce’s most beloved audience, his only grandson, Stephen James Joyce, and sent in a letter dated September 5, 1936. Cats were clearly a common currency between Joyce and his grandson. In early August 1936, Joyce sent Stephen “a little cat filled with sweets”—a kind of Trojan cat meant to outwit grown-ups. A few weeks later, Joyce penned a letter from Copenhagen that begins “Alas! I cannot send you a Copenhagen cat because there are no cats in Copenhagen.” The letter reveals the modernist master at his most playful, yet Joyce’s Copenhagen has a keen, anti-authoritarian quality that transcends the mere whimsy of a children’s story. Only recently rediscovered, this marks the inaugural U.S. publication of The Cats of Copenhagen, a treasure for readers of all ages. A rare addition to Joyce’s known body of work, it is a joy to see this exquisite story in print at last.
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A PBS NewsHour/New York Times Book Club Pick A NATIONAL BOOK FOUNDATION "5 UNDER 35" HONOREE WINNER OF THE 2017 KIRKUS PRIZE WINNER OF THE NYPL'S YOUNG LIONS FICTION AWARD FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE LEONARD PRIZE SHORTLISTED FOR THE ASPEN WORDS LITERARY PRIZE A dazzlingly accomplished debut collection explores the ties that bind parents and children, husbands and wives, lovers and friends to one another and to the places they call home. In “Who Will Greet You at Home,” a National Magazine Award finalist for The New Yorker, A woman desperate for a child weaves one out of hair, with unsettling results. In “Wild,” a disastrous night out shifts a teenager and her Niger...
The Age of Translation is the first English translation of Antoine Berman’s commentary on Walter Benjamin’s seminal essay ‘The Task of the Translator’. Chantal Wright’s translation includes an introduction which positions the text in relation to current developments in translation studies, and provides prefatory explanations before each section as a guide to Walter Benjamin’s ideas. These include influential concepts such as the ‘afterlife’ of literary works, the ‘kinship’ of languages, and the metaphysical notion of ‘pure language’. The Age of Translation is a vital read for students and scholars in the fields of translation studies, literary studies, cultural studies and philosophy.
Table of Contents The Logic of the Moral Sciences by Mill, John Stuart; Ayer, A.J. (Introduction by) Terms of Use Introduction A.J. Ayer p. 9 1. Introductory Remarks p. 19 2. Of Liberty and Necessity p. 22 3. That there is, or may be, a Science of Human Nature p. 30 4. Of the Laws of Mind p. 35 5. Of Ethology, or the Science of the Formation of Character p. 46 6. General Considerations on the Social Science p. 61 7. Of the Chemical, or Experimental Method in the Social Science p. 65 8. Of the Geometrical, or Abstract Method p. 74 9. Of the Physical, or Concrete Deductive Method p. 83 10. Of the Inverse Deductive, or Historical Method p. 100 11. Additional Elucidations of the Science of History p. 121 12. Of the Logic of Practice, or Art; including Morality and Policy p. 134 Descriptive content provided by Syndetics"! a Bowker service.
Poéticas da diversidade: estudos de literatura na contemporaneidade é uma coletânea de textos que contempla as representações da diversidade, por meio do discurso literário, e assume a missão de olhar (para) o outro, não se detendo apenas à questão da diversidade social, mas abarcando, também, as diferentes formas de apreensão do objeto estético literário, seja por meio da análise das construções formais das obras literárias e críticas investigadas, seja pelo exame do papel do escritor-intelectual no âmbito do discurso. A tônica da obra recai na problemática das questões identitárias em um mundo globalizado e nos fenômenos sociais, culturais e políticos da modernidade tardia, o que a torna uma leitura valiosa para uma reflexão mais ampla sobre os múltiplos modos de pensar a diversidade.