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Joyce said, "My imagination grows when I read Vico as it doesn't when I read Freud or Jung." This volume is the first extended examination of the connections between Vico and Joyce. Joyce employed Vico's New Science as the basis of Finnegans Wake, as he employed Homer's Odyssey as the basis of Ulysses. In what ways are Vico and Joyce similar? To what extent is Vico an influence on Joyce? And in what ways can Vico's philosophy be newly understood when seen in relation to Joyce's use of it? This book suggests ways to see both thinkers anew. Vico and Joyce is divided into three major parts: "Cycles and History," in which Vico's famous conception of the course and recourse of historical events is examined in relation to Joyce's use of this idea in Finnegans Wake; "Joyce and Vico," in which the relationship between the two thinkers is approached more from the side of Joyce than Vico; "Language and Myth," in which the similarities of Vico's and Joyce's grasp of language and imaginative forms of thought are considered. This book opens up a relationship and set of ideas whose time has come. In the last decade there has been an exciting renaissance in the study of Vico that originated in the English-speaking world and spread back to Italy. Joyce has been the one major twentieth-century figure through which most English readers have come to know something of Vico. To consider them together opens up new avenues for our understanding of the imagination, memory, and the cyclic course of human history.
Joyce said, "My imagination grows when I read Vico as it doesn't when I read Freud or Jung." This volume is the first extended examination of the connections between Vico and Joyce. Joyce employed Vico's New Science as the basis of Finnegans Wake, as he employed Homer's Odyssey as the basis of Ulysses. In what ways are Vico and Joyce similar? To what extent is Vico an influence on Joyce? And in what ways can Vico's philosophy be newly understood when seen in relation to Joyce's use of it? This book suggests ways to see both thinkers anew. Vico and Joyce is divided into three major parts: "Cycles and History," in which Vico's famous conception of the course and recourse of historical events is examined in relation to Joyce's use of this idea in Finnegans Wake; "Joyce and Vico," in which the relationship between the two thinkers is approached more from the side of Joyce than Vico; "Language and Myth," in which the similarities of Vico's and Joyce's grasp of language and imaginative forms of thought are considered. This book opens up a relationship and set of ideas whose time has come. In the last decade there has been an exciting renaissance in the study of Vico that originated in the English-speaking world and spread back to Italy. Joyce has been the one major twentieth-century figure through which most English readers have come to know something of Vico. To consider them together opens up new avenues for our understanding of the imagination, memory, and the cyclic course of human history.
The philosopher Giambattista Vico (1668-1744) was an original thinker whose voice echoes today in the humanities and in fields of social thought. In this book Vico's career and works are considered from a new viewpoint. Donald Philip Verene examines in full for the first time the interconnections between Vico's new science and James Joyce's Finnegans Wake. Maintaining that Joyce is the greatest modern "interpreter" of Vico, Verene demonstrates how images from Joyce's work offer keys to Vico's philosophy. The volume also features a detailed chronology of the philosopher's career, historical illustrations related to his works, and an extensive bibliography of Vico scholarship and all English translations of his writings.
Joseph Mali shows how modern thinkers were inspired by Vico to create their own theories of human life and history.
“Joyce’s Book of the Dark gives us such a blend of exciting intelligence and impressive erudition that it will surely become established as one of the most fascinating and readable Finnegans Wake studies now available.”—Margot Norris, James Joyce Literary Supplement
James Joyce and the Philosophers at Finnegans Wake explores how Joyce used the philosophers Nicholas Cusanus, Giordano Bruno, and Giambattista Vico as the basis upon which to write Finnegans Wake. Very few Joyce critics know enough about these philosophers and therefore often miss their influence on Joyce's great work. Joyce embraces these philosophic companions to lead him through the underworld of history with all its repetitions and resurrections, oppositions and recombinations. We as philosophical readers of the Wake go along with them to meet everybody and in so doing are bound "to encounter for the millionth time the reality of experience and to forge in the smithy" of our souls the "uncreated conscience" of humankind. Verene builds his study on the basis of years of teaching Finnegans Wake side by side with Cusanus, Bruno, and Vico, and his book will serve as a guide to readers of Joyce's novel.
All of Derrida’s texts on Joyce together under one cover in fresh, new translations, along with key essays covering the range of Derrida’s engagement with Joyce’s works. Bringing together all of Jacques Derrida’s writings on James Joyce, this volume includes the first complete translation of his book Ulysses Gramophone: Two Words for Joyce as well as the first translation of the essay “The Night Watch.” In Ulysses Gramophone, Derrida provides some of his most thorough reflections on affirmation and the “yes,” the signature, and the role of technological mediation in all of these areas. In “The Night Watch,” Derrida pursues his ruminations on writing in an explicitly feminist direction, offering profound observations on the connection between writing and matricide. Accompanying these texts are nine essays by leading scholars from across the humanities addressing Derrida’s treatments of Joyce throughout his work, and two remembrances of lectures devoted to Joyce that Derrida gave in 1982 and 1984. The volume concludes with photographs of Derrida from these two events.
My reasons for believing that a new exposition of Vico's philosophy is required may easily be inferred from the observations on the effects of his work and the biographical notes which form respectively the second and fourth appendices to this volume. Here I merely wish to state that my exposition is not meant for a summary of Vico's writings work by work and part by part. It rather presupposes an acquaintance with these writings, and, where that is lacking, is intended to induce the reader to procure them in order to follow better and to check the interpretation and estimate of them here offered. On this supposition, though I have made free use of my author's actual words, especially in the chapters dealing with history, I have not thought it desirable to mark them as quotations except where it was important to emphasise the precise phrase of the original. I have in general combined such passages from fragments scattered over a wide field, sometimes abbreviating, sometimes amplifying, and always freely adding words and phrases of my own by way of commentary: and the continual use of quotation marks would merely have shown up in a manner more wearisome than valuable the reverse side of my embroidery, which any reader who so desires can study by the help of the references given at the end of the book. In my anxiety to show in every detail of my work, so[Pg viii] far as I could, the veneration due to the great name of Vico, I have endeavoured to be brief with the brevity at which he himself aimed as the hall-mark of sterling scientific thought. With this in view I have refrained even from controversy with his various interpreters, and have either contented myself with mere remarks, or more often left my details to be justified by the coherence of my view as a whole.
Since its publication in 1939, countless would-be readers of "Finnegans Wake" - James Joyce's masterwork, which consumed a third of his life - have given up after a few pages, dismissing it as a "perverse triumph of the unintelligible." In 1944, a young professor of mythology and literature named Joseph Campbell, working with Henry Morton Robinson, wrote the first "key" or guide to entering the fascinating, disturbing, marvelously rich world of "Finnegans Wake." The authors break down Joyce's "unintelligible" book page by page, stripping the text of much of its obscurity and serving up thoughtful interpretations via footnotes and bracketed commentary. They outline the book's basic action, and then simplify -- and clarify -- its complex web of images and allusions. "A Skeleton Key to Finnegans Wake" is the latest addition to the "Collected Works of Joseph Campbell" series.
While postcolonial studies has contributed much to our understanding of Irish modernism, it has also encouraged less-than-accurate portrayals of Joyce and Yeats as polar opposites: Yeats as the inventor of Irish mystique and Joyce as its relentless demythologiser. Alistair Cormack's complex study provides a corrective to these misleading characterisations by analysing the tools Yeats and Joyce themselves used to challenge representation in the postcolonial era. Despite their very different histories, Cormack suggests, these two writers can be seen as allies in their insistence on the heresy of the imagination. Reinvigorating and politicising the history of ideas as a powerful medium for studying literature, he shows that Joyce and Yeats independently challenged a linearity and materialism they identified with empire. Both celebrated Ireland as destabilising the accepted forms of thought and the accepted means of narrating the nation. Thus, 'unreadable' modernist works such as Finnegans Wake and A Vision must be understood as attempts to reconceptualise history in a literally postcolonial period.