Tuesday, September 9, 2008

(more like an accumulation of cuttings than a proper comment)

Erreur 404 : La page demandée n'existe pas.

<< "dire et de pas dire" >>

(neue sachlichkeit)

"how to do words with things"
"how to do words with things"
"how to do words with things"

.....logique grammair......

"to present the action of representing through representation itself."

how goes reading when abreathe witha notbooka to take note of certain
instance of selfconstructions, the real wreader in riting wreads witha bead
to particular avenue asignal'd inna instant of glances...orso is usual in critty
close raidings of eadership, like how " quadrifoglio " means four leaf clover
in Italian anda how language is language is language is language, even in
dårddikter ( Swe = "lunatic poems") ditches script to slip inthru multimeanings
ings past "isce et ille" to "iste" anda forehearingly sibspeeches sugh ch ch
childlike w/ curiosity climbs vine 'o securus iudicat orbis terrarum to unhume
a hume thru refleshmeant andanding langways prebeing where we all once
were...you,qua,you..."sama sitta" = Estonian, same shit (as found in Finnegans),
earwigger e'erwake as wormingpen even "thingajarry", andalso "uhrweckers"
which Danish = "alarm clocks" sleepwake awakeasleep,bodiment & whoonearth
cooda writ sucha upfelldown swarma words werking rudderup mademark?
JamJoy the LangLord! Loud! Lowder! Mummum... Noanswa!
inna "enten eller" as Danish = either/or, or Danish aggin as "tingsomingenting"
= a thing like no thing...such nothings nutha nub like Nathan Halper sez
Earwickers dream was SatSun Mar. 18/19 1922, night of the eqinox, twelve
anda tilly such penned to lurneded interprepretastations,or as "deathbone"
& "lifebone" = aboriginal Aussie speech & mness mnakes mnemory inna
babble babel babble babel babble babel babble babel babble babel babble
...oneeyegonblack (the patch),but also Ger.= ein augenblick & thonthorstrok
uppa alphybettyformed juxtafux fulla stuffs indrunked,oplooker.
Effer aller sedded fromma fingfing mouthboordings,he thathroner athor'd witha
bolt'd bracka braces alaced inna hammmer heheavy everyeverery frooted tooa
figga bya nummunbing 1 2 3 3 2 1 ole lojinx logjammy jickery
ohsogreek n inlinearear, heso whosayeth ththing o thinkinkingh where h ere oped
tua plusplus minuspace subba tracts o tricts fulla ditreatise oi oneesty homing usses
hused thruyoo ormo ourthwurst dusties draggraggin litterily letteracettra witha speeky
eese no not nown silentrite bya woordtypa orra handndrote orran allabetter tua standunun
der muddymader frommer dirtydoer, he whoas duoselves trio atrilly soorch pooblik gottagetta
eyelooker erereder outmushher mosht droppingly forra toobe benownst unmungst th artsa
finner vined inglinings, summonother orelse, ghow itit wassaw whenna im seer dossa ord
unly onsho shortschrifted hitmiss tua eemyailer oxyboxer eedy et cuum inny ackvac vanta
gourd frum bruthbrush otherrow upstream'd twinnily traysing tracksa ininfinny questers
keyholety murmilling gainst airskybreezers awindigrist witha grittitwist agnawagnaw
nother nono neu noi styrka strenger inth anda du kommer till skrivskicka pleesa peechy immorta
a morta orsosuch ordsa der or seztoo varannan didda ditto likna boken ar bok
insuches chichi bilangs aballansee toppa treetrips erratterbranched justa
sec inna jif aswang wit sweeswing sawaseer obleedin
ennovel forra possipubbed nomennamin toobe seeninscreens irra hurded ontha
eeriehulls lika watter lessa wattage nda shipsa shlinking unsails o'er n un'er
ohtoobeseen oseenoshun oshun saltee acry waiverng sucha puddly aling withtha
langs sedding eddiments unnerneetha undun liffer wurtha liv asthaysay insumma
quation o rect asif mith asease aza mathimathtrics sosure emplace inseq etc
& time alie butta splicespace awrest byabadger bluesybittastrum thrumtrumping
allour harts each ea apiece apierce apunkt apoint .

oh, i see English in eyewhites or fly bestwestern to luverly location,
aseasyas assassination on association plugged with patsy tubbels,
atroyable decon eatin' lead fulla holes so slightly ventilated,
grammarred or letterswitched thru dubbeltrip eaning may,
unbroken bagga fullsack semiothrottled langwakers ording in errder,
andso remenningning summa ranglemeants of puttaplacings,
o, an awake finnagrinning jamjoed thunderpages sucha rumble,
and now, upright addup 'em bangshot 'o many lungaings,
stikkit oot nd eet yolkyellow birdbirths onbrake fastdashing,
wottawake, o who hole nomen!
twelve anda tilly to six vics odd,
seamningly seenik throu redreems,
lochnot skullingtonnes key,
finer for fether for further for flite,
unquiry of airlessness,
rite is time anywing rit pastpush
or rooom moor nobbylob andan errow,
res evenafter unger hung tummytrux fulla dungs,
as mutive mirk it othersuppa overinfo,
knotting the ow is nowing knewghful,
oncoily openappa leepladders thus anapple oh'd,
zactly urultra effemera goigongon offedj,
blockabook vordwoid vesselessence
roding lowder n lowder
infinitink langlord
firmaform werdswhorled
mememormee!
all 628
22-39
( . )

ditodetsammaditodetsammaditodetsamma
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( S. )
dito = "ditto"
detsamma = "the same thing"

All metaphor aside,writer to wreader to writer to wreader :
wranguage wrangling echo layer
echo layer better than refresher,way past thresh jumping verge in merge of commingle cumming against the rub.

(( How willing the weeder,
ready the reader. ))

There are no dictionary entries for Unsurpassed Masters, but Unsurpassed, Masters are spelled correctly :

(bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawnt
oohoohoordenenthurnuk!) Finnegans Wake er ekki auðveldur texti í lestri,sem kenna sig við bókina birta á heimasíðu sinni lista um fjölda hjálpartexta sem auðvelda mönnum að lesa bókina. Gagnrýnendur sem hafa reynt að draga saman efni bókarinnar í nokkrum orðum telja að henni sé best lýst á þann hátt að hún sé skráning á draumkenndum hugsunum manns sem gengur undir nafninu Humphrey Chimpden Earwicker. Sumir gagnrýnendur telja þó að aðalpersónan heiti líklega Porter.Název románu je úprava názvu staré irské komické balady o zedníku Finneganovi, který při pádu ze zdi zdánlivě zemřel. Při pohřební hostině (anglicky wake, což ovšem znamená také „probuzení“, tento význam se ale většinou v překladech nezohledňuje) do úst mrtvého těla ukápla whiskey, načež mrtvý ožil. Men der er ikke nogen dialektik på færde her, snarere er der tale om en systematisk flertydighed og tvetydighed i forbindelse med spillet mellem agression og føjelighed, mellem krig og kærlighed, sådan at stridsfænomenet i FW må anses for at være konstitutivt. For uanset om vægten (også tolkningsmæssigt) i en given passage falder på Moses (sprogets lov og orden) eller Mars (sprogets krigeriske flertydighed), er det selve den urolige dirren mellem dem, som ikke lader sig bortretouchere eller bortforklare. Ligesom broder-rivaliseringen mellem Shem og Shaun er uophørlig, er relationen krig-strid i FW ubønhørligt uendelig. Det hedder et sted: «Knock knock. War’s where! Which war? The twwinns (bemærk at «tvillinger» på wakesisk selvfølgelig må have to «w»’er og «n»’er; mbz). Knock knock. Woos without! Without what? An apple. Knock knock.»(330.29-31). Stridens æble som rækker tilbage til Abel og Kain, kan ikke afgøres eller bilægges, striden består og slår flere steder ud i fuldt flor, fx umiddelbart efter den joyceske variant af La Fontaine’s fabel om striden mellem den fornuftige og flittige myre og den sangvinske og dovne græshoppe, ss. 420-423, hvor især postbudet Shaun bittert og satirisk skoser Shem the Penman (125.23), digteren, for kopiering og plagiarisme.There are ten thunders in the Wake. Each is a cryptogram or codified explanation of the thundering and reverberating consequences of the major technological changes in all human history. When a tribal man hears thunder, he says, 'What did he say that time?', as automatically as we say'Gesundheit.'bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnska
wntoohoohoordenenthurnukPerkodhuskurunbarggruauyagokgorlayorgromgremmitghundhurt
hrumathunaradidillifaititillibumullunukkununklikkaklakkaklaskaklopatzklatschabat
tacreppycrottygraddaghsemmihsammihnouithappluddyappladdypkonpkotBladyughfoulmoec
klenburgwhurawhorascortastrumpapornanennykocksapastippatappatupperstrippuckputta
nachhingcrooklyexineverypasturesixdixlikencehimaroundhersthemaggerbykinkinkankan
withdownmindlookingatedLukkedoerendunandurraskewdylooshoofermoyportertooryzooysp
halnabortansporthaokansakroidverjkapakkapukBothallchoractorschumminaroundgansumu
minarumdrumstrumtruminahumptadumpwaultopoofoolooderamaunsturnupPappappapparrassa
nnuaragheallachnatullaghmonganmacmacmacwhackfalltherdebblenonthedubblandaddydood
ledhusstenhasstencaffincoffintussemtossemdamandamnacosaghcusaghhobixhatouxpeswch
bechoscashlcarcarcaractUllhodturdenweirmudgaardgringnirurdrmolnirfenrirlukkilokk
ibaugimandodrrerinsurtkrinmgernrackinarockar...(The tenth and last has 101 letters, making 1001 letters in all.)Type your suggestion here. of a once wallstrait oldparr is retaled early in bed and later
on life down through all christian minstrelsy. The great fall of the offwall entailed at such short notice the pftjschute of Finnegan, erse solid man, that the humptyhillhead of humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes: and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since dev-linsfirst loved livvy.Thủa ấy, Diễm Châu có bảo nhỏ tôi thế này: “Mọi chuyện cũng sắp xong. Nhưng cứ nằm yên. Bao giờ tao bảo ‘xong rồi’ thì hãy ra.” Trong khi chờ đợi biến cố quan trọng ấy, tôi đã đọc xong ‘Light in August’, hay hơn truyện ngắn ‘Barn Burning’ cũng của Faulkner. Nhưng tôi không bị ám ảnh bởi cái nhìn tuyệt diệu của Faulkner, mà cứ nghĩ mãi về câu nói của Diễm Châu: “Cả câu chuyện diễn ra quanh một đám cháy.” Rõ ràng cái nhìn hiện thực đầy tính thời gian bị cái nhìn trừu tượng, đầy tính không gian suy diễn. Cảm ơn Diễm Châu.Tiếng Hát Cỏ Chi-Lan xoay quanh một mồi lửa rơm bên sườn một cái gò nhỏ ven đê. Chỉ có hai người được đọc một vài đoạn ngắn của bản thảo đã bị thất lạc. Hai người đó là nhà văn Võ Phiến và Diễm Châu. Võ Phiến cho là quá “tài tình” nhưng “lớn quá đối với một đời người!” Còn Diễm Châu, sau khi đọc xong, đã có nhận xét như sau: “Quá đẹp! Chỉ thấy không gian, còn thời gian ngưng lại. Viết thế này thì bao giờ mới xong?” Because, Soferim Bebel, if it goes to that, (and dormerwindow gossipwill cry it from the housetops no surelier than the writing on the wall will hue it to the mod of men that mote in the main street) every person, place and thing in the chaosmos of Alle anyway connected with the gobblydumped turkery was moving and changing every part of the time: the travelling inkhorn (possibly pot), the hare and turtle pen and paper, the continually more and less intermisunderstanding minds of the anticollaborators, the as
time went on as it will variously inflected, differently pronounced, otherwise spelled, changeably meaning vocable scriptsigns. No, so holp me Petault, it is not a miseffectual whyacinthinous riot of blots and blurs and bars and balls and hoops and wriggles and juxtaposed jottings linked by
spurts of speed: it only looks as like it as damn it; and, sure, we ought really to rest thankful that at this deleteful hour of dungflies dawning we have even a written on with dried ink scrap of paper at all to show for ourselves, tare it or leaf it, (and we are lufted to ourselves as the soulfisher when he led the cat out of the bout) after all that we lost and plundered of it even to the hidmost coignings of the earth and all it has gone through and by all means, after a good ground kiss to Terracussa and for wars luck our lefftoff's flung over our home homoplate, cling to it as with drowning hands, hoping against hope all the while that, by the light of philophosy, (and may she never folsage us!) things will begin to clear up a bit one way or another within the next quarrel of an hour and be hanged to them as ten to one they will too, please the pigs, as they ought to categorically, as, stricly between ourselves,there is a limit to all things so this will never do.Ровно 100 и 3 год назад Леопольд Блум совершил свое путешествие по Дублину, позже описанное Джойсом в романе "Улисс". Именно 103 года назад, в 1904 году, произошла встреча молодого поэта - Джеймса Джойса с горничной отеля - Норой Барнакль, ставшей его верной спутницей жизни. В 1924 году, в парижском госпитале после операции на глазах Джойс писал: "Сегодня 16 июня 1924 года - двадцать лет спустя. Будет ли кто-нибудь вспоминать эту дату?" Каждый год поклонники Джойса и его книги во всем мире отмечают день 16 июня как День Блума, или Bloomsday.You must not stink I am attempting to ridicul (de sac!) you or to be smart, but I am so disturd by my inhumility to onthorstand most of the impslocations constrained in your work that (although I am by nominals dump and in fact I consider myself not brilliantly ejewcatered but still of above Averroege men's tality and having maid the most of the oporto unities I kismet) I am writing you, dear mysterre Shame's Voice, to let you no how bed I feeloxerabout it all.Wake в переводе с английского означает не только поминки, но и глагол "пробуждаться", "очнуться". Опустив апостроф в названии, Джойс провел обобщение: теперь уже речь не об одном Финнегане, а обо многих (о каждом) – Финнеганы пробуждаются.Finnegans – составлено из французского "fin" (конец) и английского again’s (again+is= снова). Wake – от английского пробуждение, начало. Получается – Финн снова, Финн воскрес.The language used for it is full of primitive terror: ‘Loud on left Thor thundered, in anger awful the hammerhurler.' “auradrama.”¿ virtavie, ohi Eilvan ja Aatomun, heitseistä rannan kaareen seppellahden, takaisin kiertää avarjen kulco modeus meidät Kuinks Linnaan ja Ympäröivaan. Luhistuminen (tututussmuiyrskylevaatharjyrtäpyörminbronjyrn-kaarrnnyjlhyyrnsseeistonnpauhaaurrauuoordaajärrietorspäh!)kerran parr ikälohen wallstreitin jälleenkerrotaan aamutuimaastaja sittemmin haiveissa elämän läpi kaiken kristillisän trubapiston.Tähteiden smuuri lankeemus perimysti sellaisessa lyhyessä huomiossa Finneganin huikaadun, kestävän ylägaalin mies, että lillerimäenpäänsä samassa lähettää haluttoman yhden no-niin
mitämäteen länteen lalleripallerivarpailleen: ja niidenylöskääntyytaittuukohtajapaikka on ulostyrmäyksessä puistossamissä oralanssiineja on asetettu ruostumaan vihreän päälle kunduplahin ensin rakasti livveloa.
نشر منذ أزيد من ثلاثين سنة(2). يقال إن الإبدال ( paradigme) قديحدثها العمل الأدبي في القراء، سواء تعلق الأمر بالاستتيقا الأرسطية أو باستتيقا الجزالة (sublime)باستتيقا الكشف esthétique de la vision الوسيطية أو بقراءات استتيقا أرسطو المتجددة، وسواء تعلق باستتيقا الجزالة الكلاسيكية أ
صيغة دنيويةة ( version sécularisée ) كما قلت مؤخرا.غير أن صياغة القضية بهذه الكيفية يجعلها لا تستوعب الجدل السابق الدائر بين المقاربة التكوينية والمقاربة التأويلية، وفعلا فبالإمكان دا
ماذا يعني القول - في ظل هذه الشروط - بأن بعض الاتجاهات النقدية المعاصرة >موجهة نحو استجابة القارئ؟< فسوسيولوجيا الأدب مثأذكر أن ديريدا ألح بشدة في كتاب (De la grammatologie) على أن الإنتاج النقدي كان مهددا بالتيه في كل الاتجاهات الممكنة وبإلهجة مفتوحة وحيدة وواحدة (Idiolecte ouvert) خاصة باعمال جويس (أي الكشف عن المصفوفة الاستراتيجية التي تجعل هذه الأعمال تحت של ג'ויס שלו עצמו. ביצירה זו יש רמזים לסגנון הכתיבה המאוחר יותר של ג'ויס, בשימוש במונולוג פנימי ובהתעסקות בנפש יותר מאשר במציאות החיצונית.בספרו "יוליסס", ג'ויס משתמש בזרם התודעה, פארודיה, הומור ולמעשה כל טכניקה ספרותית בהצגת דמויותיו. העלילה של הרומן, המתרחש במשך יום בודד, ה-ביוני מציבה את המיתוס העתיק של יוליסס, פנלופה וטלמאכוס בדבלין המודרנית, ומציגה אותם באופן פארודי בתור ובניגוד לדמויות ליאופולד בלום, אשתו מולי בלום וסטפן דדאלוס. הרומן חוקר את חיי העיר דבלין, בדגש על עליבותה וחדגוניותה.,םיארוקהו תוארוקה םע ולא םיחתפתמ םיסחי לוקלקב ןיינועמ יתייה אל,קרפה לע הדמע תיתורפס הריציש םושמ הרירב ידיב התייה אל תאז לכבו ,יוארה המויסל עיגתש תנמ לעו ,המ ןמז הז המותחו הרומג התייהש הריציםע .תווחל ןודינש םימייוסמה םירבדה תא תווחל ונירוביג לע היההנכה עוזעזה תמרמ ינא םג יתעתפוה טסיניבושה ןמויב 5 -ה קרפה םוסרפלע תועידי ילא ועיגה םינוש תורוקממ .םיארוקהו תוארוקה י"ע הנגפוהש the paper is almost as intelligible as Finnegans Wake. "I employed the sound "quork" for several weeks in 1963 before noticing "quark" in "Finnegans Wake", which I had perused from time to time since it appeared in 1939... The allusion to three quarks seemed perfect. Um idioma particular"A grande queda desdeo altomuro arrastou em curtolance a pftjqueda de Finnegan, varão outrora mais q'estável, que a vaziamontesta lá dele prumptamente desvestiga quem lhe diga no Ocidente o acidente da perda dos dedos dos pés: e seu parcoespaçoepouso é na porta do parque, lugar de arranjos de oranges mofados sobre o verde desde que Diadublim um diamou Livividinha. Que choques cá de querências contra carência, ostragodos versus piscigodos! Brékkek Kékkek Kékkek! Kóax Kóax Kóax! Ualu Ualu Ualu! Quaouauh! Onde bandos de botocudos inda avançam para arrasamassacrar linguarudos e verduns catapultarremessam contra kanibalísticos para fora da irlandalvosboycia de Montecaveira".Ég og einhver annar, ég man ekki hver (það var einhver með mér, einhver nákominn eða góður vinur eða vinkona, ég bara man ekki eftir að hafa séð framan í hann eða hana) vorum að ræna banka. Við höfðum prentað út einhverja hótun sem við framvísuðum í banka. Þetta tók langan tíma, við vorum með allan bankann í gíslingu, en þegar leikurinn stóð sem hæst hvarf ég út um bakdyrnar með gríðarlega fjármuni í umslagi. Svo fór ég til vinnu næsta dag eins og ekkert hefði í skorist. Naturligtvis ligger det något i dessa rätt triviala sanningar, men det motsäger inte att Bloom blir huvudperson genom språket och att till synes inåtvänt språk ändå avser att förmedla ett budskap, som när ett trotsigt barn tjurigt vänder sig bort och vägrar prata.Vad använder då Joyce sitt språk till? Vad är poängen? Den unge Joyce myntade begreppet "epifani" - egentligen "gudauppenbarelse", en katolsk term för trettondagen, då de tre vise männen uppvaktade den nyfödde frälsaren. Men Joyce menade med detta ord en vidare insikt i tingen. När det andliga ögat skiljer ut ett objekt från alla andra och fokuserar det, så är det en epifani.Här hemma har vi andra spärrar än de katolska att bekämpa. Den främsta är myten om Joyces exklusivitet, modernisten i sitt elfenbenstorn. Men Joyce är både svår och lätt, ett verk som "Ulysses" är givande på alla nivåer, man kan fiska blott i ytskiktet och få sig några goda skratt, och man kan dyka ner i de oändliga djupen. Det beror på läsaren. Och det är det viktiga trots allt - att böcker får läsare.A Classical Lexicon for Finnegans Wake: A Glossary of the Greek and Latin .Har du någon gång läst den, eller försökt att läsa den? Man måste väl behärska det engelska språket bättre än en infödd ’medel-engelsman’, för att verkligen få ut mesta möjliga av den.”The Oxford Companion to English Literature” har avskräckt mig från att försöka läsa den Citat ”It is written in a unique and extremely difficult style, making use of puns and portmanteau words (using at least 40 languages besides English), and a very wide range of allusion.”In the name o Annah the Allmaziful, the Everliving, the Bringer of Plurabilities, haloed be her eve, her singtime sung, her rill be run, unhemmed as it is uneven!İngilizce’de “Allmaziful” diye bir kelime yok. Peki bu kelimeyi nasıl okumalı/yazmalı? Meselâ, “All-maze-ful” şeklinde! Peki bir anlamı olabilir mi?"Plurality": Çoğunluk, kat kat artış, ekseriyet."Allmaziful"un yerine "Almighty" sıfatını yerleştirirsem, “bütün dolambaçlarla dolu (olan)” yerine “Kâdir-i Mutlak” diye; “(Al) Merciful”u koyarsam, “Rahman” diye çeviriyorum."Çoğulluk kabiliyetlerinin getiricisi”ni, “Kitleleri uyandıran” olarak idrak ediyorum."Angusstissimost" kelimesi İngilizce değil, başka bir dilce de değil; melez..."Rockabill Booby in the Wave Trough."Zigzag: İng. Yalpalama, “Z” çizerek hareket etme.And gags for skool and crossbuns.Yunanca "παντοκρατορία" (pantokratorya) kelimesinden mülhem ve "Mutlak Hüküm" mânâsına geliyor. Intervhangeability: "Karşılıklı değişebilirlik”; “3” numara.Pradėjo rašyti dar vieną didelį kūrinį Finegano pabudimas. Pirma šio kūrinio dalis pasirodė.Todėl postmodernieji rašytojai žaidžia kalbos ženklais ir kultūros simboliais. Vieni tekstai remiasi kitais tekstais ir daugina vieni kitus. Pasitelkiama ironija, groteskas, šaržas. Įtraukiama eklektika ir koliažas. Simuliakras išstumia patyrimą. Tokį žaidimą įžvelgiu kai kuriuose Herkaus Kunčiaus kūriniuose. Būtent čia kaitaliojamos laiko ir erdvės perspektyvos, atsiranda nesustyguoto, nesiužetinio rašymo, išnyra veikėjai, kurių prototipų neieškome realybėje.The Role Of Thunder In Finnegans Wake : Engels :Geef je oordeel en maak kans op vele leuke prijzen! Rijst het magnum opus van James Joyce als een ongenaakbare toren van Babel op in het literaire landschap van de twintigste eeuw. Eerbiedig bewonderd op afstand, nurks gemeden door iedereen die graag weet wat hij leest, of nieuwsgierig besnuffeld door wie er iets meer van wil weten. Maar slechts zelden van kaft tot kaft gelezen, door enkelingen die er een proefschrift uit peuren, of die er het literaire equivalent van een LSD-trip in hebben gevonden. Finnegans Wake is het nec plus ultra van de literaire experimenteerlust: een boek vol verdwaaltaal en dubbeltongs droommuziek. En dus ook een onweerstaanbare kluif voor een hongerige horde van puzzelaars en geleerden die onophoudelijk nieuwe vondsten en inzichten apporteren. Want Joyce kende zijn literaire pappenheimers. Toen hem gevraagd werd waarom hij het boek op deze manier geschreven had, antwoordde hij doodleuk: “To keep the critics busy for three hundred years.”Toch was het de moeite waard, omdat het fundamentele vragen opriep over lezen, en over die hardnekkige behoefte aan houvast, aan een lijn, een verhaal. Je gaat beseffen hoe dun het ijs van de taal – en dus van je begrip – eigenlijk is: één letter verschil kan genoeg zijn om er doorheen te zakken. Zoals schapen en geiten door een lichte verspreking veranderen in gapen en schijten, zo laat Joyce zijn taal ook voortdurend, en heel suggestief, ontsporen en van betekenis verschieten door met de spelling van de woorden te spelen. Toch is het allesbehalve stuurloze onzin. Dat is de paradox van de Wake: dat het een heel doordachte en bewust gecreëerde duisternis is, waarin de dingen voortdurend in hun tegendeel verkeren en de taal in staat blijkt tot alle metamorfosen. Niet voor niets heeft het Joyce 17 jaar gekost om deze droomnacht te componeren en uit de aaneenschakeling van puns, raadseltjes en klankeffecten een coincidentia oppositorum, een eenheid van tegendelen te smeden. Maar ondanks alle doortrapte en wijdvertakte samenhangen die ze erin ontdekt hebben, kan geleerdheid hier onmogelijk het laatste woord hebben. Want het boek is, behalve doorwrocht duister, ook zo onbedaarlijk speels en grappig dat het zelfs zijn exegeten aansteekt met woordwellust. (Zij communiceren over hun bevindingen in een Newslitter.) Het is dus ook en vooral een boek voor mensen die van taalspelletjes houden, en van taalmuziek. Maar wel Engelse spraakmuziek. Voor lezers die niet in het Engels zijn grootgebracht blijft het een probleem dat je vaak niet precies weet hoe de tekst in het Engels zou moeten klinken. En dat brengt ons terug bij het heuglijke feit van de vertaling. Finnegans Wake is vertaald: het onmogelijke is geschied. En al is elke vondst te betwisten omdat je altijd meerdere kanten uit kunt, het wemelt toch van de inventieve en verrassende oplossingen. Zoals – ik pik er maar wat uit – ‘Verstel-Geen-Sprookjeshoek’ voor ‘Tell-No-Tailors’ Corner’. Of de vertaling van ‘My wrists are wrusty rubbing the mouldaw stains’ in: “Mijn polsen zijn strang van het rijnigen van de schimmoldauw,” waarin alvast twee van de honderden riviernamen verstopt zitten. Bovendien hebben de vertalers het spreektaalkarakter van de tekst en de klankeffecten, zoals de veelvuldige alliteraties, steeds zoveel mogelijk gerespecteerd. In het Nederlands wordt dat: “Zijn hoof vielt zwaar, zijn spaciebakkes schudde. (Er was een muur in stand van oprichting). Bdimb! Hij storterde van de zatladder. Bdamb! Hij was dut. Bdomb! Mastabatom, mastaratdam, als een mon zich verhuwt laat hij zich luid loeiend gaan. Voor heel de wereld te kijk. // Shnit? Als een paal boven theewater! Macool, Macool, aï, aï, waarom bestu sneven? Op een moeie mondorstdagmorguen?”Achteraf kun je zeggen dat het waarschijnlijk ook alleen maar zó kon. Bindervoet en Henkes deden al eerder van zich spreken met hun baldadig gestamp door de porseleinkast van literatuur en filosofie. Maar dat ze met dezelfde branie dit Heilig Monster zouden overmeesteren is toch een grote verrassing. Alleen een ontembaar enthousiasme en een verfrissend gebrek aan eerbied kunnen verklaren waarom uitgerekend zij het karwei hebben geklaard. Het plezier heeft het gewonnen van het respect. En dat lijkt me ook geheel in de geest van de doortrapte grappenmaker en heiligehuisjesmelker James Joyce. Part of What the Thunder Said.''that petrified superpun'' Examining the long word evoking ''The fall of a once wallstrait oldparr'': ''babadalgha- raghtakamminarronnkonnbronnton-nerronntuonnthunntrovarrhounawn- skawntoohoohoordenenthurnuk!'' Sure enough, in the corresponding area on the first page of the ''Annotations'' he found: ''Japanese kaminari: thunder Hindustani karak: thunder Greek brontao: to thunder French tonnerre: thunder Italian tuono: thunder Swedish aska: thunder Irish tornach: thunder Portuguese trovao: thunder Old Rumanian tun: thunder Danish tordenen: the thunder.'' ''bababadalgharaghtakam-minarronnkonnbronntonnerronn-tuonnthunntrovarrhounawnskawn- toohoohoordenenthurnuk!'' Get it?''like learning a language: one unconsciously inculcates background material while focussing upon odd nuclei of sense, which are due to aggregate at some future date,''One area of correspondence, if not of direct influence, is the use which both authors made of polyglotism, one of the most prominent features of the text of Finnegans Wake. Especially significant is their common use of more than one language in hybrid words or interlingual puns. The allusion to Rabelais and the occurrence of the word "bumgut" in Molly's monologue have long been accepted as evidence that Joyce took them from Sir Thomas Urquhart's seventeenth-century translation. Further, as John Kidd shows, in "Joyce's Copy of Fran�ois Rabelais' 'Les Cinq Livres,'" Joyce possessed a two-volume copy of the original French text. So, what's a Thunderword then? Well, basically, Joyce loaded Finnegan's Wake with the decapartate family of this vaguely onomatopoeic collection of ten one-hundred letter words. Oops - almost right. I remarked the preceding to an English teacher once, for which she accosted me bluntly. The point being that there are exactly nine words of one-hundred letters and one word of one-hundred-and-one letters in length, making an Arabesque 1001 letters in total.For Ito Eishiro, as well, the question of how to translate Finnegans Wake, a work that Umberito Eco perceived as taking language "beyond any boundary of communicability," must address the seemingly infinite interpretative possibilities of Joyce's language. Naoki Yanase's solution was, in part, to invent numerous Japanese words and phrases for his 1991-1993 scholarly, artistic translation of the Wake (the only complete translation of the book into Japanese), creating what Ito regards as a masterpiece not only of translation but also of Japanese literature in its own right. Yanase attempted to transpose the ambiguities of Joyce's language into the translation itself, deconstructing Japanese as Joyce's original text deconstructed English. The literary creator has the right to disintegrate the primal matter of words imposed on him by text-books and dictionaries. The right to use words of his own fashioning and to disregard existing grammatical and syntactical laws.Then, how can the “grammatically and syntactically disintegrated text” be translated into another mono-language? Should the translator faithfully put it into a disintegrated language even if only a very limited number of readers can understand it? Finnegans Wake is a work of fiction which consists of deliberately incorrect misspellings. Unlike Chinese characters or “kanji,” which express their meanings with symbols, the alphabetical letters express only how to pronounce the words, which enables us to interpret each word of FW infinitely. Among many translations, the Korean and Japanese complete translations are unique in not using the Roman alphabet. It is notable that his list includes Ó Súilleabháin's Irish Wake Amusements: it was first written in Irish as Caitheamh Aimsire ar Thórraimh in 1961 and translated by the author in 1967. It explains the various features of the Irish wake amusements: story-telling, singing, music, dancing, contests in strength, taunting, mocking, booby traps, and various games like imitative games, catch games, etc.: needless to say, such Irish wake amusements can be found throughout Finnegans Wake. Hall's Ireland is about Mr. & Mrs. Hall's tour of 1840 which covers almost all the major sightseeing spots of Ireland at that time. Senso, Evu- Adamu-reihaitei wo sugi, kuneru kishibe kara wankyokusuru umi eto mukai, saijunkansuru kokochiyoi Vico Road no waki wo susumi, Noosu Arumorika kara kochira kodoku na hantou-sei senso wo tatakau tame ni kita Arumorika kara namidatu umi wo koete wakagesu no itari de mouroku Isaku-jiisan wo taburakashita nomo, jiki ni mada datta.tenraku (bababababa beragagara baba bonputei dohhyanputei gogorogorogegi kaminaron rakka ( bababa daru garakuta kaminaron konburon to neeru ron tuon kon san dadan dada uooruru gaga itte hehehe tooru toruru toronbu ron bippiikazu zezonn dodooffu dafura fukuo oyaji jigu san toro varuunoo sukoon tuufu fuuru deene turu shhauun!).Using the IC program, Cage determined 2293 sounds depiciting locations and noises that appear in Finnegans Wake, all recorded at the places mentioned in the book. There are 15 categories of sounds: Thunderclaps, thunder rumbles and earthquake sounds - Laughing and crying (laughtears) - Loud voice sounds (shouts, etc.) - Farts - Musical instruments (short) - Bells, clocks, chimes - Guns, explosions - Wails - Animals and particular birds - Music (instrumental and singing) - Water - Birds (in general) - Singing - Places.For as far as music goes of Finnegans Wake for that matter, we didn't know what we were doing. From time to time we would stop and listen, say to a part of one of the 16 track tapes. And we were pleased. But what would 64 tracks together sound like? Clearly much that we liked would be covered up. My reading, parts of which no matter how many times we heard it had a certain charm, was already inaudible. Why go on? Though we didn't know what we were doing, that is, we didn't know what the result would be like, we knew what we had to do, the nature, that is, of the process we were involved in. In Zen Buddhism this is called purposeful purposelessness.(in this case Roaratorio) I don't agree. I think that we can still at unexpected moments be surprised by the beauty of the moon though now we can travel to it. And I think that the artists of the twentieth century who resist our understanding are the ones to whom we will continue to be grateful.To get an idea of how Yanase has added his wordplay to Joyce's, look at the first word, "riverrun." Yanase has emulated Joyce here by creating a new Japanese word composed of the kanji for "river" and "run." However, the pronunciation of this kanji compound (indicated as sensou by the furigana above it) is also a homonym of the word for "war." Yanase explains that war and conflict are recurring themes throughout Finnegans Wake—from the Fall of Adam and Eve to the present. But sensou can also mean "ship window," an image linked to the river...It has am entirely coherent plot, and most puns should be understandable to anyone who has a few languages under their belt. It is only pedestrians who either lack the necessary training or give up after the first few pages that think the book is "totally incomprehensible."But above all, get your own copy and write lots of notes in the margin. You'll need 'em. Here's one of my favorite (rather long) sentences from 4.18-28, which should be fairly easy for people on this blog. References to Ibsen, Freemasonry, the Bible, T.S. Eliot (aka Helveticus), puppetry, Irish beer, English law, Chinese geography, and Anglo-Irish authors are entirely intentional. Note also the hidden HCE, the initials of the book's hero."Bygmester Finnegan, of the Stuttering Hand, freemen's maurer, lived in the broadest way immarginable in his rushlit toofarback for messuages before joshuan judges had given us numbers or Helviticus committed deuteronomy (one yeastyday he sternely struxk his tete in a tub for to watsch the future of his fates but ere he swiftly stook it out again, by the might of moses, the very water was eviparated and all the guenneses had met their exodus so that ought to show you what a pentschanjeuchy chap he was!) and during mighty odd years this man of hod, cement and edifices in Toper's Thorp piled buildung supra buildung pon the banks for the livers by the Soangso." Moreover, after Jarl van Hoother completes his creative contribution to on-going civilisation, a fecal deposit that attracts, or itself resounds with, a rumble of thunder, 'they all drank free' (FW 23.7-8). This freedom of distribution of alcoholic beverage, the sacrament of HCE, and if 'free' is read as 'tea', the enjoyment of free love, is curtailed by Shaun, who as an Ondt character, accumulates both wealth and women for his own private enjoyment. It appears that Shaun may have broken the original agreement of 'drinking for free' negotiated by the Prankquean and occasioned by the fall of HCE, and moreover he does so by invoking the names of the fallen HCE. With reverberations of the biblical fall of Satan, Adam and Eve, and Babel, Yawn explains to the Four Historians that Shem, a 'treemanangel', is cast down by 'the Muster of the hoose', a Shaun character described appropriately as 'Knockout, the knickknaver' (FW 505.34), to prevent his profligate desire to disperse three barrels of stout:the climber clomb aloft, doing the midhill of the park, flattering his bitter hoolft with her conconundrums. He would let us have the three barrels. Such was a bitte too thikke for the Muster of the hoose so as he called down on the Grand Precusor who coiled him a crawler of the dupest dye and thundered at him to flatch down off that erection and be aslimed of himself for the bellance of hissch leif.TRANSLATION MACHINES.“to repeat and take responsibility for all equivocity itself, utilising a language that could equalise the greatest possible synchrony with the greatest potential for buried, accumulated, and interwoven intentions with each linguistic atom, each vocable, each word, each simple proposition, in all worldly cultures and the most ingenious forms (mythology, religion, sciences, arts, literature, politics, and so forth).” The sign of thunder also suggests a moment of transition, which Margot Norris has identified with Vico’s theory of social origins in Principi di Scienza Nuova as a complement to Joyce’s use of the Edenic and Oedipal myths in Finnegans Wake. According to Norris, “this myth significantly juxtaposes the origins of society and language,” in which the Babel-scene is re-echoed in the account “of the event when the sky first thundered”:In both cases thunder marks a transition, an advent and a discontinuity, a pantomime or “Noh!” theatre performed between commandment and interdiction. As such, thunder also marks what Joyce refers to as an “INCIPIT IN- / TERMISSIO” Byfall.Upploud! Uplouderamain!I spell them out: HEWAR, and sketch a first translation: HE WAR—he wages war, he declares or makes war, he is war, which can also be pronounced by babelising a bit (it is in a particularly Babelian scene of the book that these words rise up), by Germanising, then, in Anglo-Saxon, He war: he was—he who was (“I am he who is who am,” says YAHWE). Where it was, he was, declaring war, and it is true. Pushing things a bit, taking time to draw on the vowel and lend an ear, it will have been true, wahr, that’s what can be kept [garder] or looked at [regarder] in truth. In the buginning is the woid, in the muddle is the sounddance and thereinofter you’re in the unbewised again, vund vulsyvolsy. The play between “in the beginning was the word” and “the beginning was the void,” with “in the muddle is the sounddance,” not only suggests the cyclical departures of Finnegans Wake itself (beginning with the word “riverrun,” as a deluge coming from the void, flowing back upon “the,” unbewußed, and so on), but also the ambiguity of origins as such, and of the origin in logos in particular. Similarly, this logomachia is seen to come about “by way of a violent slippage of the vocative,” which, as an effect of paronomasia, also implies a mechanics of iterability and what Lacan, referring to Saussure, terms glissage: the slippage of signification along the interstice dividing signifier from signified. As with the Cartesian speech act of self-affirmed Being, the phrase “he war” assumes the tenor of a declaration, which in the above quotation from Finnegans Wake is supplied in the line “the clearer of the air from on high” (which echoes the Latin decl?r?re, to make clear). In the deluge after the word, the tower of Babel thus provides a technological analogy to the aporia or retrait inscribed in the impossibility of translation (meta-phora) as the condition and “origin” of translation. But this analogy is also a metaphor of the untranslatable itself: “an apotropaic against destinerrance, translation against translation, Babel against Babel.” Ecco i tuoni (in realtà non tutti sono veri tuoni, alcuni sono battimani, colpo di tosse, sbattere di porta…)Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni.Ci sono dieci tuoni. There is no particular reason, but it can be argued that this shift constant point of view forward a more varied knowledge, new squarci vivid from this or that direction. Se avete mai provato, stando in piedi, a chinare il capo in modo da guardare indietro tra le ginocchia, con il viso capovolto, vedrete il mondo in una luce totalmente diversa. If you have ever tried, standing, to hang his head to look back between his knees with his face upside down, you will see the world in a totally different light. Provate a farlo sulla spiaggia: è molto divertente veder camminare la gente, quando la guardate da sotto in su. Try it on the beach: it is very funny to see people walk when look up from below. Sembra che, a ogni passo, liberino i loro piedi dalla colla della gravitazione, senza rimetterci in dignità. It seems that at every step, release their feet from the glue of gravity, without losing dignity. Bene, questo trucco di cambiare prospettiva, di modificare il prisma e il punto di vista, può essere paragonato alla nuova tecnica letteraria di Joyce, a questa nuova contorsione grazie alla quale vedete un’erba più verde, un mondo più fresco” (V. Nabokov, James Joyce: Ulisse , in Lezioni di letteratura ). Well, this trick to change perspective, to change the prism and the point of view, can be compared to new literary technique . I wanted to comment on anything, then rereading my eye fell on this which I think is a significant metonymy a certain thing that I am concerned: I have already passed the wish of finding a book of this kind.Nessuna claque e nessuno sconto. No claque and no discount. Ma dopo averlo letto, eccheccavolo. But after making it, eccheccavolo. That you should have read my statement "even" this way: "If a book does not convince you, I rarely frequent" leggendolo here and there, maybe because it is not in your strings, legitimate, no? Question - for those who have already read. non vi pare che quel "nucleo incandescente" senza l'armatura a proteggerlo sarebbe risultato un tiepido ovetto alla coque? There seems that the "core incandescent" without the armor to protect it would be a lukewarm ovetto to coque? This is suspect, and if so then is the problem. Altro conto sarebbe dire che il "nucleo incandescente" (chiamiamolo così) SI SVILUPPA GRAZIE all'armatura, che gli è necessaria non per proteggerlo ma per dargli vita, ea quel punto non è più armatura ma struttura portante: che a me pare tutta un'altra cosa. Other account would say that the "core incandescent" (call it so) SI SVILUPPA THANKS all'armatura, which is necessary not to protect but to give life, and at that point no longer armor structure but that seems to me a whole 'else.Beyond metaphor, more surplus in reading, we meditate above, and more than that I convinco no, no question of parody (as in ipotizzavo another page of comments), but ACCESSION a narrative model, as some may join a kind.En estas traducciones se ofrece primero el texto original, y luego una traslación aproximada al castellano plano línea por línea, junto con un análisis auxiliar del texto en inglés. No es mi ambición que las notas agoten las interpretaciones, o las publiquen como definitivas: son sólo las que yo pude intuir o aprender (otras siguen siendo oscuras para mí); sin embargo, estas aproximaciones tal vez den una idea del sabor, del espíritu del libro a los que nunca lo han leído en su idioma original.Nuevamente "bawk" (back + bawl). El río Liffey (el río que pasa por Dublin) es la cabellera de Anna Livia. "All thim liffeying waters" es probablemente "all them living waters" (todas esas aguas vivientes) mezclado con Liffey y "thin" (delgada). Las lavanderas se vuelven piedra y árbol. El inglés "foot" (pie) se pluraliza mal por "foots" (en vez del correcto "feet") al mezclarse con el río Oos (Bali, Indonesia). Además, "Fuss" en alemán es "pie". Simétricamente, "move" pasa a ser "moos", para corresponder al río Moose (Maine, Estados Unidos), que también en alemán significa "moho" o "musgo". Sola, loca en mi soledad.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final! .¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final!.¡Oh, amargo final! ¡Oh, amargo final! ¡Oh, amargo final! ¡Oh, amargo final! ¡Oh, amargo final! ¡Oh, amargo final! ¡Oh, amargo final! : ) troylloyd http://wordwithinword.blogspot.com/

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