By James Joyce
Version interactive bilingue Français/Anglais.
"Avec l. a. découverte récente de quelques pages de brouillons égarées, c’est le chaînon manquant entre Ulysse et Finnegans Wake qui a été mis au jour.
Pour se relancer alors qu’il traversait une période d'incertitude, Joyce s’est mis à écrire de curieuses vignettes sur des thèmes irlandais. Ces petits textes, apparemment simplistes, sont les germes de ce qui deviendra le plus complexe des chefs-d’œuvre du vingtième siècle.
Nous publions ici pour l. a. première fois, dans los angeles langue originale et en traduction française, le cœur de cet ensemble qui s’organise autour de los angeles légende de Tristan et Iseult et notamment du most desirable baiser des deux amants. Joyce s’efforce de décrire, dans une veine tantôt ugly, tantôt lyrique, ce baiser, présenté aussi bien comme un événement cosmique que comme un flirt sordide. L’étreinte se déroule sous le regard libidineux de quatre voyeurs séniles, dont les divagations donneront le ton et fixeront le sort de Finnegans Wake.
Ces textes nous révèlent un element inattendu de los angeles démarche créative de Joyce et offrent une voie d’accès à qui voudrait commencer à s’aventurer dans l’univers si intimidant de sa dernière œuvre."
Read Online or Download Brouillons d'un baiser: Premiers pas vers Finnegans Wake PDF
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Additional resources for Brouillons d'un baiser: Premiers pas vers Finnegans Wake
In many ways the new cultural history has helped us to focus on what is left out of allegorically-, and typologically-, structured histories, to recognize difference. But certainly many modernists were well aware of the satirical elements of history, and neither, for all their efforts, can new historicists escape allegory and typology. In fact, even as the new history reacts against the allegorizing procedures of classical cultural history, it itself tends to look like pure allegory. As Bruns describes it, allegory is the “conversion of the same into the familiar” and “the reweaving of a text or context” (203, 85).
In many ways such work only continues what modernists and nationalists began in the late nineteenth and early twentieth centuries. Burckhardt and Symonds as well as others all viewed the Italian Renaissance as the original period of modernity, which they too described as the emergence of the nation-state, culture, science, democratic trends, the middle class, and the individual subject. Just as postmodernists do, both modernists and nationalists from 1860 to 1920 reacted against modernity and hence the Renaissance.
Michael Saler’s recent The Avant-Garde in Interwar England, for example, a book that helps us to rethink modernism’s relation to nationalism, relies on distinguishing the medieval and Renaissance periods in terms of nationalism. According to Saler, “medieval modernists” were influenced more by Ruskin and William Morris and hence had a more communal view of humanity and concern for the English nation. In contrast, Saler suggests formalists such as Fry and Bell were attracted to the Renaissance period and treated art and individuals as if they were autonomous from society and consequently were unconcerned for the nation (vii).