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Literature --- Literature. --- Belles-lettres --- Western literature (Western countries) --- World literature --- literature --- translation --- philology --- Philology --- Authors --- Authorship
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Literature --- Literature. --- Letterkunde. --- Noors. --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship
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Literature --- Literature. --- History and criticism --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship
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Literature. --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship
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Literature --- Literature. --- History and criticism --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship
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Literature --- Literature. --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship
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Literature --- Literature. --- Belles-lettres --- Western literature (Western countries) --- World literature --- arts --- linguistics --- literature --- linguistics and arts --- Philology --- Authors --- Authorship
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Philology --- Literature --- History and criticism --- Literature. --- Philology. --- Belles-lettres --- Western literature (Western countries) --- World literature --- Authors --- Authorship
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Originally published in 1977. The pioneer critics of Finnegans Wake hailed the work as a radical critique of language and civilization. Resuming their position, Margot Norris explains the book's most intractable uncertainties not as puzzles to be solved by a clever reader but as manifestations of a "chaosmos," a Freudian dream world of sexual transgression and social dissolution, of inauthentic being and empty words. Conventional moralities and restraints are under siege in this chaosmos, where precisely those desires and forbidden wishes that are barred in waking thought strive to make themselves felt. Norris demonstrates convincingly that the protean characters of Finnegans Wake are the creatures of a dreaming mind. The teleology of their universe is freedom, and in the enduring struggle between the individual's anarchic psyche and the laws that make civilization possible, it is only in dream that the psyche is triumphant. It is as dream rather than as novel that Norris reads Finnegans Wake. The lexical deviance and semantic density of the book, Norris argues, are not due to Joyce's malice, mischief, or megalomania but are essential and intrinsic to his concern to portray man's inner state of being. Because meanings are dislocated—hidden in unexpected places, multiplied and split, given over to ambiguity, plurality, and uncertainty—the Wake, Norris claims, represents a decentered universe. Its formal elements of plot, character, discourse, and language are not anchored to any single point of reference; they do not refer back to center. Only by abandoning conventional frames of reference can readers allow the work to disclose its own meanings, which are lodged in the differences and similarities of its multitudinous elements.Eschewing the close explication of much Wake criticism, the author provides a conceptual framework for the work's large structures with the help of theories and methods borrowed from Freud, Heidegger, Lacan, Levi-Strauss, and Derrida. Looking at the work without novelistic expectations of the illusion of some "key" to unlock the mystery, Norris explores Joyce's rationale for committing his last human panorama—a bit sadder than Ulysses in its concern with aging, killing, and dying—to a form and language belonging to the deconstructive forces of the twentieth century.
Literature --- Criticism and interpretation. --- Joyce, James, --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- Literature: history & criticism
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In the first essay of this collection, Lovejoy reflects on the nature, methods, and difficulties of the historiography of ideas. He maps out recurring phenomena in the history of ideas, which the essays illustrate. One phenomenon is the presence and influence of the same presuppositions or other operative "ideas" in very diverse provinces of thought and in different periods. Another is the role of semantic transitions and confusions, of shifts and of ambiguities in the meanings of terms, in the history of thought and taste. A third phenomenon is the internal tensions or waverings in the mind of almost every individual writer--sometimes discernible even in a single writing or on a single page--arising from conflicting ideas or incongruous propensities of feeling or taste to which the writer is susceptible. These essays do not contribute to metaphysical and epistemological questions; they are primarily historical.
Literature. --- Philosophy. --- Mental philosophy --- Humanities --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- Social & cultural history
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