By Laurent Milesi
This number of essays deals an unique examine Joyce's writing by way of putting his language on the intersection of assorted severe views: linguistics, philosophy, feminism, psychoanalysis, postcolonialism and intertextuality. Combining distinct textual research and theoretically knowledgeable examine, a world group of major students explores how Joyce's experiments with language again and again problem our methods of examining. Drawing on present debates in Joyce scholarship, literary experiences and significant thought, this quantity comprehensively examines the serious range of Joyce's use of language.
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Additional resources for James Joyce and the Difference of Language
In order to distinguish such fragments of pre-articulation, that is to say, verbal clusters that may yet come to cohere to a full-scale sentence, they will be termed ‘sents’ – not full-scale, complete or unrufﬂed sentences, but their rudimentary potential. That the non-word 28 Syntactic glides 29 squints at Latin sentire (feel, experience, perceive, think) is appropriate: Joyce tends to focus on chancy processes of becoming rather than ﬁnished results. A sentence is, after all, ‘a way of thinking’ (as some dictionaries deﬁne it), a way of thinking that has reached a conventional shape.
I cannot express myself in English without enclosing myself in a tradition’ (quoted in JJ 397), and, while composing Work in Progress: (to August Suter) ‘je suis au bout de l’anglais’; (to another friend) ‘I have put the language to sleep’; (to Max Eastman) ‘When morning comes [at the end of Finnegans Wake] [. ] I’ll give them back their English language. I’m not destroying it for good’ (all quoted in JJ 546); (in a letter to Harriet Shaw Weaver dated 11 November 1925) ‘What the language will look like when I have ﬁnished I don’t know.
49 However, in endeavouring to disenfranchize ourselves from the validations of Joyce’s models of historical reconﬁgurations, we have been unwittingly following in his footsteps – or, to echo Derrida’s words once more, our attempted liberations have in strange anamorphic ways been read in advance by Joyce – by extending to our own self-(re)empowerment as readers the very means whereby the Irish writer set out to free (his) art from the similar constraints of an exclusionary history in the ﬁrst place (cf.