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Izložba: Džejms Džojs naš savremenik (dokumentarni filmovi i paneli)
Beogradski ugao i knjižara Stubovi kulture, Trg Republike 5

Izložba sastavljena od niza panela, na kojima je tekstom i fotografijama opisan i prikazan piščev život i rad, nastala je povodom stogodišnjice „Blumsdeja“ (16. jun 1904), dana u kojem se odigrava radnja Džojsovog remek-dela (Uliks,1922), a priredio ju je odsek za kulturu Ministarstva inostranih poslova Irske.

Tri dokumentarna filma, koji traju između 10 i 12 minuta, detaljno se bave kontroverzom izazvanom Uliksom, odnosom između Džojsa i Narodne biblioteke Irske, kao i Džojsovim zaveštanjem savremenom dobu. Filmovi se prikazuju jedan za drugim tokom celog dana.

Vrati se na: Književno društvo Džejms Džojs





Exhibition: James Joyce Our Contemporary (documentaries and panels)
Belgrade Window and Stubovi Kulture bookstore, Trg Republike 5

This exhibition recounting the author's life and work in words and photographs features a series of panels launched by the cultural division of the Irish government's Department of Foreign Affairs to commemorate the 100th anniversary of Bloomsday (June 16, 1904), the day on which Joyce's masterpiece, Ulysses, published in 1922, is set.

Three documentaries, each 10–12 minutes long, detail the controversy over Ulysses, the relationship between Joyce and the National Library of Ireland, and Joyce’s contemporary legacy. The films will be shown repeatedly.

Go back: James Joyce Literary Society



Predkonferencijsko predavanje
Deklan Kajberd: Džejms Džojs u svetlu irskog modernizma

Osnova ovog Kajberdovog predavanje biće njegova knjiga Izmišljanje Irske, koja daje pregled irske književne tradicije, iznoseći tezu da su Englezi “izmislili” vlastito sagledavanje Irske podsvesno od nje načinivši mesto na kojem će odlagati otpad svog kolonizatorskog pogleda na svet. Značaj ovog dela potiče od prevratničkog postkolonijalnog pristupa zemlji u kojoj su poezija i kazivanje priča, i u usmenom i u pisanom obliku, delovali kao presudni protivotrov političkom i intelektualnom pritisku koji je nosila dominantna okupatorska imperijalna kultura. Budući velika obimom, studija Izmišljanje Irske ima priliku da donese i pažljivu procenu nekih zanemarenih pojava, kao što je značaj žena pisaca u Irskoj. Takođe ona je temeljit pregled svih onih pisaca koji su i van Irske stekli ime. Time može da posluži i kao studija od nemalog značaja za utvrđivanje irskog literarnog kanona. Ovakav pristup načinio je od nje nezaobilaznu istoriju književnosti moderne Irske, u kojoj se kraj detaljnih i smelih tumačenja vrhunaca njene književnosti razmatraju i šira uloga jezika, sporta, oblačenja, politike i filozofije irskog preporoda.
Upečatljivo poredeći iskustva ostalih postkolonijalnih zemalja i Irske, Kajberd je pronašao mnoge zakasnele sličnosti. Ne pristajući uz mišljenje da su pisci poput Vajlda, Šoa, Jejtsa, Džojsa i Beketa postajali moderni tek u meri svog poevropljenja, on tvrdi da je irsko iskustvo bilo jedinstven i drastičan primer modernosti zasnovane na eksperimentu i pokazuje da su umetnici ove zemlje poveli trku kojoj je konačno ishodište bio magični realizam jednog Markesa ili Rušdija. U Kajberdovu analizu kulture utkane su osnovne crte njene političke pozadine, jasno naznačujući pravac koji je moderna irska književnost zauzela nasuprot tragičnoj istoriji sukoba, prevrata i začaurenosti.


Vrati se na: Književno društvo Džejms Džojs




Public Talk
Declan Kiberd: Irish Modernisms, Joycean Contexts


The talk will derive from Kiberd's book Inventing Ireland, that gives a perspective on the Irish literary tradition, essentially arguing that the English "invented" their own view of Ireland by making it a subconscious dumping ground for a colonising world-view. The importance of Inventing Ireland stems from its ground-breaking post-colonial treatment of a country where poetry and story-telling, in oral and written forms, acted as a crucial antidote to political and intellectual suppression by a dominant occupying imperial culture. As a long text, Inventing Ireland also includes careful assessment of neglected issues such as the importance of Irish women writers. It is a comprehensive look at practically every Irish author of international acclaim. In this sense it can serve as a reference book of no small note for the Irish literary canon. The result is a major literary history of modern Ireland, combining detailed and daring interpretations of literary masterpieces with assessments of the wider role of language, sport, clothing, politics, and philosophy in the Irish revival.
In dazzling comparisons with the experience of other postcolonial peoples, the author makes many overdue connections. Rejecting the notion that artists such as Wilde, Shaw, Yeats, Joyce, and Beckett became modern to the extent that they made themselves "European," he contends that the Irish experience was a dramatic instance of experimental modernity and shows how the country's artists blazed a trail that led directly to the magic realism of a García Márquez or a Rushdie. Kiberd's analysis of the culture is interwoven with sketches of the political background, bringing the course of modern Irish literature into sharp relief against a tragic history of conflict, stagnation, and change.











Džojsovski mrmljoari
Fric Sen&Kristina O'Nil
The Lilliput Press, 2007

U Džojsovskim mrmljoarima Kristin O’Nil, iz Dablina, koja je studije o Džojsu završila u Cirihu, podstakla je Frica Sena na brojne razgovore o Džojsu i njegovom radu, o džojsovskoj zajednici u svetu i prijateljima, problemima prevođenja, Džojsu i Homeru, Fondaciji Džejmsa Džojsa u Cirihu, jezičkim zamršenostima i, naročito, o njegovom vlastitom životu i ličnosti.
Ovi izazovni dijalozi daju nam povlasticu da zavirimo u široko eklektičan kulturni i literarni milje, približujući nam na tren neke od vodećih stručnjaka i izučavalaca, od Ričarda Elmana do Nila Montogomerija i Antonija Berdžesa. U njima se, napokon, otkriva i upečatljivo složena ličnost jednog od najpriznatijih evropskih poznavalaca Džojsa na svetskoj sceni.









Joycean Murmoirs
Senn, Fritz & Christine O'Neill (ed.)
The Lilliput Press, 2007


In Joycean Murmoirs, Christine O'Neill, a Zurich Joyce scholar based in Dublin, has drawn Fritz Senn out in numerous, wide-ranging interviews about Joyce and his works, the global Joyce community and friends, problems of translation, Joyce and Homer, the Zurich James Joyce Foundation, the intricacies of language and, not least, his own life and personality.
These thought-provoking exchanges lend a privileged view of a richly eclectic literary and cultural milieu, giving glimpses of leading scholars and commentators from Richard Ellmann to Niall Montgomery and Anthony Burgess. They form a fascinating composite portrait of one of Europe's foremost international Joyceans.


Go back: James Joyce Literary Society Belgrade


Kako je Džojs pisao Bdenje Finegana
Genetička studija iz-poglavlja-u-poglavlje
Priredili: Luka Krispi i Sem Slout
Wisconsin University Press, 2007.


U ovoj izuzetnoj studiji Džojsovog „Bdenja Finegana“ Luka Krispi i Sem Slout okupili su vodeće stručnjake koji se bave irskim piscem kako bi istražili nastanak jednog od najprovokativnijih proznih dela u 20. veku. Eseji u ovoj knjizi bave se „Bdenjem Finegana“ koristeći perspektivu koja se pruža na osnovu Džojsovih radnih beleški. Služeći se pripremnim nacrtima nekog dela genetička kritika utemeljuje mogućnosti tumačenja u istorijskom i činjeničnom kontekstu i širi mogućni pristup kritičkim i tekstualnim tumačenjima.

Luka Krispi, Sem Slout i Dirk van Hule u uvodu daju kompozicioni sled „Bdenja Finegana“, kao i arhivsko istraživanje rukopisa i uvođenje u metode genetičkog pristupa. Nakon toga ova studija donosi tumačenje Džojsovog „Bdenja... "iz-poglavlja-u-poglavlje", pristupajući mu kao delu koje se razvija. Ova knjiga je ključno polazište za sve buduća istraživanja Džojsovog najsloženijeg i zadivljujućeg ostvarenja.

Luka Krispi je predavač na studijskom odseku „Džojs i modernizam“ u Istraživačkom centru za izučavanje Džejmsa Džojsa, Škola engleskog i drame, Univerzitetski koledž, Dablin. Radio je bibliografske projekte, kataloge i izložbe na Univerzitetu u Bafalu, pri Narodnoj biblioteci Irske i drugde.

Sem Slout predaje na studijama „Izučavanje Džejmsa Džojsa i kritička teorija“ na Triniti koledžu, Dablin, i pisac je knjige „Dante, Malarme, Džojs: nastajanje u tišini“ i ko-urednik knjige „Uvidi: genetička istraživanja kod Džojsa“ kao i zbornika „Genitriksling Džojs“. Objavljivao je radove o Džojsu, Beketu, V. Vulf, modernizmu, Deridi i genetičkoj kritici. Trenutno priređuje knjigu esejističkih radova o Džojsu i Deridi.

Autori priloga: Bil Kadberi, Luka Krispi, Džed Depmen, Danijel Ferer, Fin Fordam, Mikio Fuse, Dejvid Hajmen, Ingeborg Landuit, Hirt Lerno, Patrik A. Makarti. Žan Mišel Rabete, R.J. Šork, Dirk van Hule i Vim van Mirlo.

Iz prikaza:
„Do danas ovo je najobuhvatniji i najtačniji prikaz kompozicije Džojsovog najvećeg dela.“ – Roland Makhju, autor knjige „Komentari uz Bdenje Finegana“. „Presudni korak u istoriji kritičkog istraživanja knjige koja je Džojsovo naizazovnije delo i jedno od najznačajnijih umetničkih dostignuća 20. veka.“ – Derek Atridž, Univerzitet u Jorku. „Pronicljiva i od važnosti, ova knjiga značajno unapređuje doprinose prethodnih studija. To je prva sveobuhvatna genetička rasprava o „Bdenju Finagana“ i svi oni koje Džojs i „Bdenje...“ zanimaju imaće od nje koristi.“ – A. Nikolas Fargnoli, Moloj koledž.



Luda zabava na Bdenju Finegana
Razrešavanje opštosti
Fin Fordam
Oxford University Press, 2007.


Knjiga Fina Fordama je uvodna kritička studija u „Bdenje Finegana“ i njegov nastanak. „Luda zabava…“ daje pregled kritičkih, istraživačkih i teorijskih pristupa Džojsovom remek-delu. Takođe, ona se podrobno bavi kompozicionim razvojem pojedinih ključnih odeljaka koji opisuju umetnika (Šema) i njegov projekat; reku-majku (ALP) i njen „prvi poljubac“; edipovsko uklanjanje sveopšteg oca (HCE) koje je počinio njegov zaređeni sin (Šon); očaravajuću i radoznalu ćerku (Isi). Fordamove analize prikazuju „genetički“ način iščitavanja teksta, čime njegov najširi opseg i razigranost dolaze do izražaja, uz uvid kako su ovi kvaliteti stvarani samom kompozicijom dela.

Jednako kao što razotkriva detaljima gusto istkanu tekstaulnost „Bdenja…“ u svoj svojoj raznostranosti, Fin Fordam nastoji da utvrdi odnos između pristupa na koji je tekst sačinjen i ključnih činilaca njegovog tematskog sadržaja: bunt pojedinačnog i detalja nad opštostima, apsolutnom i sveobuhvatnim. On pokazuje da bujanje mnogobrojnih poosobljenih tekstualnih detalja stiče prevagu nad bilo kakvom zasnovanošću teksta koja bi počivala na jedinstvenom principu. A ovo odražava idealizovan i utopijski bunt kako nadvladava jedinstvenu centralizovanost: Finegan će se, zaista, prenuti iz sna. Kao deo ovog pristupa Fordam predlaže da uzdržano pristupimo samom pojmu književnog junaka – uzdržano utoliko što se oni delom mogu razumeti kao odraz samog karaktera kompozicionih tehnika: samoprocenjivanje i zatajivanje, širenje i rast, proticanje i refleksija, prenos i preobražaj. A sama osobenost kompozicije teksta kao celine može se, paradoksalno, konačno sagledati u snazi poosobljenog mnoštva: ljudi, žene i muškarci, stari i mladi, prepliću se i spajaju kako bi nadvladali sintaktičku jednoobraznost i pojedinačnu označenost.

Fin Fordam je predavač na Studijskom odseku za engleski, Rojal Holovej, Univerzitet u Londonu, a takođe je podučavao studente Univerziteta u Notingemu. Njegova doktorska teza bavi se izučavanjem uticaja Lucije Džojs na „Bdenje Finegana“. U oblasti genetičke kritike objavio je mnoge radove i autor je knjige „Luda zabava na Bdenju Finegana: Razrešavanje opštosti“ (Oxford University Press, 2007). Istraživanja Fina Fordama naročito su posvećena Džojsu i njegovom završnom proznom delu, ali je njegovo interesovanje usmereno i na književnu i tekstualnu teoriju i modernizam. Za svoj istraživački doprinos dobio je nagrade Britanske akademije i Leverhalm fondacije, a njegov trenutni rad posvećen je uporednom proučavanju procesa pisanja kod modernističkih autora.






How Joyce Wrote Finnegans Wake
A Chapter-by-Chapter Genetic Guide
Edited by Luca Crispi and Sam Slote
Wisconsin University Press, 2007


In this landmark study of James Joyce's Finnegans Wake, Luca Crispi and Sam Slote have brought together leading Joyce experts to explore the genesis of one of the twentieth century's most intriguing works of fiction. Each essay approaches Finnegans Wake through novel perspectives afforded by Joyce's preparatory manuscripts. By investigating a work through its earlier drafts, genetic criticism grounds speculative interpretations in a historical, material context and opens up a broader horizon for critical and textual interpretation.

The introduction by Luca Crispi, Sam Slote, and Dirk Van Hulle offers a chronology of the composition of Finnegans Wake, an archival survey of the manuscripts, and an introduction to genetic criticism. Then, the volume provides a chapter-by-chapter interpretation of the Wake, probing the book as a work in progress. This book is the essential starting point for all future studies of Joyce's most complex and fascinating work.

Luca Crispi is lecturer in Joyce and modernism at the Research Centre for James Joyce Studies, School of English and Drama, University College, Dublin. He has prepared material bibliographies, catalogs, and exhibitions at the University at Buffalo, the National Library of Ireland, and elsewhere.

Sam Slote is lecturer in James Joyce studies and critical theory at Trinity College, Dublin and is the author of The Silence in Progress of Dante, Mallarmé, and Joyce and the coeditor of Probes: Genetic Studies in Joyce and Genitricksling Joyce. He has published articles on Joyce, Beckett, Woolf, Modernism, Derrida, and Genetic Criticism. Presently he is editing a volume of essays on Joyce and Derrida.

Contributors: Bill Cadbury, Luca Crispi, Jed Deppman, Daniel Ferrer, Finn Fordham, Mikio Fuse, David Hayman, Ingeborg Landuyt, Geert Lernout, Patrick A. McCarthy, Jean-Michel Rabaté, R.J. Schork, Sam Slote, Dirk Van Hulle, and Wim Van Mierlo.

Reviews: "The most complete and accurate account to date of the composition of James Joyce's greatest work." - Roland McHugh, author of Annotations to Finnegans Wake "A major step forward in the critical history of the book that is Joyce's most challenging work and one of the twentieth century's most significant artistic productions." - Derek Attridge, University of York "Insightful and relevant, this volume significantly advances the explorations of earlier studies. It is the first comprehensive genetic discussion of Finnegans Wake chapter by chapter, and anyone seriously interested in Joyce and the Wake will benefit from reading it." - A. Nicholas Fargnoli, Molloy College"



Lots of Fun at Finnegans Wake
Unravelling Universals
Finn Fordham (Oxford University Press, 2007)


This book is a critical introduction to Finnegans Wake and its genesis. Finn Fordham provides a survey of critical, scholarly, and theoretical approaches to Joyce's iconic masterpiece. He also analyses in detail the compositional development of certain key passages which describe the artist (Shem) and his project; the river-mother (ALP) and her "first kiss;" the Oedipal shooting of the universal father (HCE) by the priestly son (Shaun); and the bewitching and curious daughter (Issy). His analyses demonstrate 'genetic' ways of reading the text which illustrate its immense range and playfulness and how these qualities were generated in composition.

As well as opening up the densely detailed textuality of the Wake in all its multiplicity, Fordham argues for a relation between the way the text was formed and key aspects of its thematic content: an uprising of particularity and detail against universality, absolutes, and generality. He shows that the proliferation of individuated textual details overwhelms any unitary concept to the text. And this reflects an idealized and utopian uprising as it overcomes centralizing singularity: Finnegans do wake up. As part of this argument he proposes a qualified return to a notion of character - qualified in that characters can be understood in part as reflecting the character of compositional techniques: self-criticism and concealment, expansion and growth, flow and reflection, transferral and transformation. The character of the text's composition as a whole can be, paradoxically, summed up in the force of individuated multitudes: in the people, male and female, young and old, combining to overwhelm syntactic uniformity and singular signification.

Dr. Finn Fordham is a lecturer in the Department of English, Royal Holloway, University of London and has also taught at the University of Nottingham. His doctoral work examined the influence of Lucia Joyce on the composition of Finnegans Wake. He has published widely on genetic criticism and is author of Lots of Fun at Finnegans Wake: Unravelling Universals (Oxford University Press, 2007). Dr. Fordham's research focus on Joyce and on Joyce's final work, in particular, but his interests encompass literary and textual theory and modernism. He has held British Academy and Leverhulme awards for his research and is currently working on a comparative study of the writing processes of modernist writers.


Louis Armand




Louis Armand is an artist and writer who has lived and worked in Prague since 1994. His work has appeared internationally. His reviews, critical essays, poetry, fiction and translations have appeared in numerous journals and anthologies, including Sulfur, Meanjin, Frank, Poetry Review, Stand, Triquarterly, Culture Machine and Calyx: 30 contemporary poets, eds. Michael Brennan and Peter Minter (Sydney: Paper Bark Press, 2000).
In 1997 he received The Max Harris prize for poetry at the Penola Festival (Adelaide), and more recently he was awarded The Nassau Review Prize, 2000 (New York). Louis Armand is a member of the editorial board of Rhizomes: Studies in Cultural Knowledge, an editor of the comparative studies Journal Litteraria Pragensia and founding editor (1994) of the online journal HJS (Hypermedia Joyce Studies). Armand is also an editor at the Prague-based publishing house Litteraria Pragensia.



ABSTRACT
Posthumanist Joyce

This paper seeks to examine several propositions concerning the relationship of writing, technicity and the discourse of “humanism.”
The status of writing in its relation to agency: what is it that writes in Joyce? In Finnegans Wake, Joyce configures a set of writing mechanisms which are described recursively, as a writing “body” that writes upon its own surface. This body assumes the function of both an agent (something which acts) and a thing.
Contrary to certain humanistic principles that centre the act of writing in a human subject, the Joycean “thing” adopts the position of a writing that returns out of the obscene realm of the Real and inscribes subjectivity as a fantastical interface.
This psychoanalytic idea suggests that the human is always a post-effect of a certain technological displacement within the function of agency, of writing. In other words, the human subject is not only technologically inscribed (written)—e.g. in its historical, cultural situation—but is also technologically affected—e.g. as something programmed through the receipt of writing, and in which reflexivity (consciousness) is in fact a type of cybernetic recursivity. Posthumanism is not a state “beyond the human,” but the technological invention of the idea of the human, in advance, as humanism.
The paper will examine examples of this mode of thinking in Joyce’s text.


Valerie Benejam


Valérie Bénéjam has been working at the Université de Nantes (France) as a Maître de Conférences in English Literature since 1997. A former student of the Ecole Normale Supérieure, she wrote her PhD under the supervision of Jean-Michel Rabaté at the University of BurgundyDijon. She has written many articles about Joyce and is currently writing a book about UlyssesAll About Molly) and co-editing with John Bishop a collection of articles on the issue of Joyce's representations, across his work, of spatiality and space (Spatial Joyce).





ABSTRACT
“Don’t be talking!”: Gravity, Eccentricity and the Expanding Margin of Discourse in “Sirens” and “Cyclops”


In Ulysses, next to his celebrated achievements with interior monologue, Joyce experimented with various narrative and stylistic techniques aiming at rendering the multi-vocal, polyphonic quality of what Hélène Cixous later identified as the “municipal character” in the novel. These experiments with group speech are probably most visible in “Sirens” and “Cyclops.” With different techniques and effects, these two episodes pivot upon similar polar oppositions between harmony and cacophony, consensus and dissent, centre and margin, centripetal gravity and centrifugal eccentricity. In this paper, I will examine the musical blending of speech in “Sirens” and the mock-epic linguistic battles in “Cyclops” to show how they constitute two different solutions to the same literary challenge, bringing different but complementary lights to the dialectical relation between centre and margin in Joyce’s work.

Gerry Dukes


Gerry Dukes was a lecturer in literature and Research Fellow at Mary Immaculate College, University of Limerick until 2006. He is now a freelance editor, critic and writer. He is a specialist in the work of James Joyce and Samuel Beckett. Having published his annotated edition of Beckett’s postwar novellas, First Love and Other Novellas, Penguin have also published his Illustrated Lives: Samuel Beckett, a copiously illustrated biography of the writer. With the actor Barry McGovern he adapted Beckett’s postwar trilogy of novels as a one-man Beckett show I’ll Go On, which premiered at the Dublin Theatre Festival in 1985 and which has become a benchmark for Beckett productions worldwide. He is a regular contributor to journals, magazines and newspapers and has frequently written for television and radio. His most recent play, Thesis (co-written with Paul Meade and David Parnell), was co-produced by the Civic Theatre, Tallaght and Gúna Nua Theatre Company in 2007.



ABSTRACT
From the margins to the centre: James Joyce and the emancipation of the reader

Strategies employed by Joyce across the canon of his work ensure that his readers are involved in decoding and interpretive processes that require levels of active engagement with the texts that are unusual, to say the least. By outlining and examining some of these strategies in action, a case will be made for regarding Joyce as an early exponent of the devolution of textual authority from the readerly writer to the writerly reader. The case will be argued with reference to Dubliners (with particular reference to “The Sisters” and “Two Gallants” where topography is transformed into a kind of mythography, where the streetscape “speaks” to those who are prepared to listen) and to A Portrait of the Artist as a Young Man in which the “Simon Moonan effect” will be described and analyzed. Revisions and modulations of these and similar strategies in Ulysses will be discussed and evaluated.


Daniel Ferrer



Daniel Ferrer is Director of Research at the Institut des Textes et Manuscrits Modernes (CNRS-ENS) in Paris. He is editor of the journal Genesis. The books he has published include Post-structuralist Joyce; Virginia Woolf and the Madness of Language; Ulysse à l’article: Joyce aux marges du roman ; Writing its own wrunes for ever: Essays in Joycean Genetics; Pourquoi la critique génétique? Méthodes, théories ; Genetic Criticism: Texts and Avant-texte; La Textologie russe. With Vincent Deane and Geert Lernout, he is currently editing the Finnegans Wake notebooks.




ABSTRACT
Writing in the margin


Although Joyce does not strictly belong to the category of marginalist annotators, although he is not one of those writers whose margins display an explicit dialogue with the text, a lot of writing events occur on the periphery of his pages. Indeed, parodying Pascal's definition of God, it could be said that in his manuscripts, the center is nowhere and the margin everywhere, suggesting the idea of an absolute marginality of writing.


Go back: James Joyce Literary Society Belgrade


Anne Fogarty



Anne Fogarty is Professor of James Joyce Studies at University College Dublin and President-elect of the International James Joyce Foundation. She is Director of the UCD James Joyce Research Centre and editor of the Irish University Review, a premier Irish Studies journal. She is co-editor with Timothy Martin of Joyce on the Threshold (University of Florida Press, 2005), with Morris Beja of Bloomsday 100: Essays on Ulysses, and with Fran O'Rourke of James Joyce: Multidisciplinary Approaches. With Luca Crispi she is editor of the newly founded Dublin James Joyce Journal, a co-publication with the National Library of Ireland which will be launched in June 2008. She has edited special issues of the Irish University Review on Spenser and Ireland, Lady Gregory, and Eiléan Ní Chuilleanáin and of the Colby Quarterly on Irish Women Novelists . She has published widely on aspects of contemporary Irish fiction. She has co-directed two international Joyce symposia and has been Academic Director of the Dublin James Joyce Summer School since 1997. She is the recipient of the 2008 Charles Fanning Prize in Irish Studies .




ABSTRACT
“A Chapter of the Moral History of My Country”: Dubliners as Political Critique

James Joyce famously and portentously declared that his intention in composing Dubliners was “to write a chapter of the moral history of my country”. He added that he chose Dublin as the setting for his collection of short stories because it seemed to him “the centre of paralysis”. Yet these apparently satirical objectives combined with the aim to capture the essence of Dublin and to represent hidden but defining aspects of its social and political structures. This paper will examine aspects of the complex narrativity of Dubliners. It will look at the way in which Joyce unsettlingly marries satire and empathy in these stories and will argue that they ultimately prompt us as readers always to reconsider the superficial or overt moralities that they proffer. Above all, the political insights construed by these stories are devastating because of their starkness and their teasing elusiveness.


Finn Fordham




Finn Fordham is a lecturer in the Department of English, Royal Holloway, University of London and has also taught at the University of Nottingham. His doctoral work examined the influence of Lucia Joyce on the composition of Finnegans Wake. He has published widely on genetic criticism and is author of Lots of Fun at Finnegans Wake: Unravelling Universals (Oxford University Press, 2007). Dr. Fordham's research focus on Joyce and on Joyce's final work, in particular, but his interests encompass literary and textual theory and modernism. He has held British Academy and Leverhulme awards for his research and is currently working on a comparative study of the writing processes of modernist writers.




ABSTRACT

"Joyce after Easter" will look at the Wake as a resurrection, at Easter, at Easter risings, (at yeast and Yeats), at ritual dates and ritual sacrifices, at national/ist memories, trauma, etc. I might reflect on the notion of 'relevance' and 'topicality', too and how calendars systematise responses and are themselves a territory for systematising ideology. Beckett's black humour called Good Friday 'this excruciating holiday' - which might set the tone for some of it...





Petar Jevremović



Petar Jevremović je psiholog, zaposlen na Filozofskom fakultetu u Beogradu. Objavio je tri knjige (Psihoanaliza i ontologija, Lakan i psihoanaliza, Telo, fantazam, simbol), sa grčkog prevodio Aristotela i Maksima Ispovednika… Tekstovi koje je do sada objavljivao uglavnom su bivali posvećeni pitanjima psihoanalize, filozofije, teologije i knjizevnosti...





ABSTRACT
James Joyce and Arnold Schoenberg

Within the context of hermeneutically possible (and of course, more or less virtual) encounter between Joyce and Schoenberg, it is (or, it could be) possible to clarify some fundamental ideas and intuitions of their immanent (literal or musical) poetics. Just to mention a question of structure, of linguistic and syntactic ordering of experience, of rhythm, sound and sonority of literal text, and of (unconscious, visceral or epidermal) corporality of any human quest for meaning. Reading Joyce implies more than just reading. It implies - listening. There is always some kind of (tonal or atonal) music beneath his ordering of words and sentences. Narrative formations are intentionally accompanied (or decentred, even deconstructed) thanks to their sub-linguistic effect on (even perfectly insomniac) recipient’s (hearing) body. Paraphrasing Hindemith, we could say that Schimberg’s ludus tonalis is in many important points (especially in its humor, irony, excitement, openness and contingency) analogous to Joyce’s ludus verbalis. Musical articulation of (psychoanalytically speaking) the Other scene is analogous to its literal articulation. These analogous (aesthetic) articulations have analogous (psychological, but not only psychological) motives and analogous (conscious and unconscious) effects on its recipients. Just think about all that irrational hostility and resistances that were bestially provoked during first performances of Schoenberg’s The Second String Quartet in F-sharp Minor. Just think about all calamities and misunderstandings that Joyce had to face while promoting his Dubliners and Ulysses. All this, and of course not only this, makes Joyce and Schoenberg possible partners in one (it could be) fruitful hermeneutical dialogue.


Miroslav Josić Višnjić




Miroslav Josić Višnjić: Srpski pisac MJV (1946) objavio je više knjiga pripovedaka, nekoliko romana i drugih knjiga medju kojima su: Lepa Jelena, Stari i novi godovi, Priče iz trapa, ciklus TBC (Pristup u svetlost, Odbrana i propast Bodroga, Pristup u kap i seme, Svetovno trojstvo, Pristup u počinak), Roman bez romana, U drugom krugu, Azbučnik prideva u srpskoj prozi, a dobio je i nekoliko važnih književnih nagrada: Veljkova golubica, Ninova nagrada, Andrićeva nagrada, Bora Stanković, Zlatni krst kneza Lazara, Todor Manojlović, Račanska povelja itd.




ABSTRACT
O GNJURCU U ANI LIVIJI

Nikad se nisam zanosio da išta prevedem, sa bilo kojeg jezika. Dosta mi je uvek bilo što slike i misli iz moje glave prevodim na jezik kojim govorim.
Jezik je najveća zagonetka, mračna provalija i nebeska vedrina. Pismo je košulja jezika. Krojač i kroj su kao majstor i rukopis. Kad poslednja tačka zadrema u delu, nestaju tragova fircanja. To znaju svi pisci, ali je malo onih koji su tražili dno jezika, onih koji su srknuli kapi u beskraju govora.
Većina pisaca tek pliva (blizu obale, u plićaku), malo ima gnjuraca.
Sa veslom na kolenu, zagledan u književnu pučinu, na proznom okeanu, čitam talase Servantesa i Rablea, čitam Prusta i Muzila, čitam Dostojevskog, čitam i našeg Crnjanskog.
Džems Džojs je jedan među retkima.
Od prvih redova, od prvih stihova, preko Ulisa, do Finegana.
On roni u Ani Liviji, bez maske za oči i bez trske u ustima. Udahne, zaroni i sa dna donosi kamenčiće, šaku mulja i školjke sa biserima.


Tatjana Jukić



Tatjana Jukić is Associate Professor of English at the University of Zagreb. Author of Zazor, nadzor, svidjanje. Dodiri knjizevnog i vizualnog u britanskom 19. stoljecu (Liking, Dislike, Supervision. Literature and the Visual in Victorian Britain, Zagreb, 2002). Her research interests include 19th and 20th century literature; the relationship between literature and the visual (especially film); philosophy and cultural and literary theory. She is currently coordinating a research project on limits of literary memory.


Go back: James Joyce Literary Society Belgrade


ABSTRACT
Lust, Oblivion and the Archive Fever: Vision as Hypomnesis of "The Dead"

Structurally, "The Dead" labors as a kind of archive to Joyce's Dubliners. This archive is organized not only around the very position of finality ("the Dead" as the last story in the collection), where the narrative cannot but be summing up the collection's various concerns and organizing them as its memory—where, specifically from within this memory, Dubliners coheres into a collection to begin with, and starts laboring as one. As effectively perhaps this archive labors where "The Dead" exposes the very structures of memory, finality and collectivism as symptoms of what in archiving survives as hypomnesis, or else of what in archiving labors as an agent provocateur of mnemotechnology. My presentation aims to address this specific agency or survival in "The Dead" as a position where to think further Joyce as an agent provocateur of psychoanalysis and of philosophy themselves (most notably in the work of Jacques Derrida and Gilles Deleuze).


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