O que há em um nome? Ressonâncias entre Ana Cristina Cesar e James Joyce / What’s in a name? Resonances between Ana Cristina Cesar and James Joyce

Resumo: Ana Cristina Cesar, em Luvas de Pelica (1980)1, mostra-nos um tipo singular de dicção íntima em que a finalidade do segredo é desativada, e uma mistura de diário de viagem, cartas e anotações pessoais é transformada em um espaço de deriva poética, no qual a posição do sujeito torna-se matéria de literatura. Há neste texto uma outra possibilidade de entendimento do que poderíamos chamar de “âmbito íntimo”, já que aqui, a intimidade acaba ganhando um estatuto diferente daquele da clausura, característico de décadas anteriores. Sabemos que nesta obra, Katherine Mansfield e Virginia Woolf são referenciadas, mas, em que medida a obra de um outro autor moderno, James Joyce, poderia dar uma nova luz à escritura de Ana Cristina? Joyce abordou de maneira intensa a temática da intimidade em seu livro Ulysses (1922), não somente através de cartas, mas também de um fluxo de consciência, em que a matéria corporal corre “junto” ao que nos é apresentado textualmente. Levando em conta o trabalho de problematização da instância íntima realizado por Ana C., haveria em Luvas de Pelica uma espécie de tonalidade joyceana refletida em seu corpus textual? Este trabalho pretende desbravar este tema, apontando para possíveis relações entre as estratégias de escrita de Ulysses e de Luvas de Pelica, a fim de descobrir pontos em comum que possam iluminar ainda mais a poética da escritora carioca.Palavras-chave: Ana Cristina Cesar; James Joyce; Intimidade; Feminino.Abstract: Ana Cristina Cesar, in Luvas de Pelica (1980), shows us a singular type of intimate diction in which the purpose of the secret is deactivated, and a mixture of travel diary, letters and personal notes is transformed into a space of poetic drift, in which the subject’s position becomes a matter of literature. There is in this text another possibility of understanding what we could call “intimate sphere”, since here, intimacy ends up gaining a different status from that of enclosure, characteristic of previous decades. We know that in this work Katherine Mansfield and Virginia Woolf are referenced, but to what extent could the work of another modern author, James Joyce, shed new light on Ana Cristina’s writing? Joyce intensely addressed the theme of intimacy in his book Ulysses (2012), not only through letters, but also through a stream of consciousness, in which the body matter of the character runs “along” with what is presented to us textually. Taking into account Ana C.’s problematization of the intimate instance, would there be in Luvas de Pelica a kind of Joycean tone reflected in her textual corpus? This paper intends to explore this theme, pointing to possible relationships between the writing strategies of Ulysses and Luvas de Pelica, in order to discover common points that can further illuminate the poetics of the writer from Rio de Janeiro.Keywords: Ana Cristina Cesar; James Joyce; Intimacy; Feminine.

Musical Allusions in James Joyce's Dubliners and the Problem of Their Translation

The importance of music in the works of James Joyce has long been acknowledged by Joycean scholars, though few systematic attempts have been made to deal with musical allusions. A tenor singer in his youth, Joyce fills his writings with musical references and allusions used for certain purposes in his own style. No matter how music is applied, one thing is certain - musical allusions always add a further dimension to his stories, provide a deeper understanding to a piece of literature making it unique and revealing the unknown. Translation of allusive texts has always been of great interest to linguists, professional translators and literary critics. It requires some strategic and problem-solving competence, as well as cross-cultural awareness, as allusions are closely interconnected with the cultural SL content.

“Shocked at my Levity”

Ezra Pound’s humor promotes unorthodox intimacies between readers and writers. His portraits in The Pisan Cantos catch Henry James and James Joyce laughing, emphasizing their human peculiarities and Pound’s personal knowledge of them. These scenes suggest how unsatisfactory he finds traditional notions of poetic immortality. Instead, his portraits of jesting writers make literary texts contain the artist as both heroic figure and human individual, doing the work of high art and personal interaction simultaneously. Pound loves the Romantic figure of the poet-hero, but his laughter emphasizes that artist’s fallible humanity, and highlights modernism’s concern with creating accurate models of imaginative sympathy. As Pound’s laughter becomes more intimate, however, it is also more troubling: humor in The Cantos seeks to enlist his reader not just in his poem but in his hierarchical vision of art and his fascist politics.

“СТІВЕН ДЖОЙС СЛУХАЄ”: ЦІ СЛОВА ЖАХАЛИ НЕ ОДИН ДЕСЯТОК ЖУРНАЛІСТІВ

The Ukrainian translation of Terence Killeen’s article “The Words Many a Journalist Dreaded Hearing: «This is Stephen Joyce»” is provided. Terence Killeen is the James Joyce Centre’s research scholar (Dublin). He is the author of numerous publications devoted to James Joyce’s oeuvre. Among them, there are “«Ulysses»’ Unbound: A Reader’s Companion to James Joyce’s «Ulysses»” (2004), an essay on the earliest version of “A Portrait of the Artist as a Young Man” (2020) and others. He is a former journalist although still continues to publish his works on the pages of “The Irish Times”, a leading Irish newspaper (Dublin). The above-mentioned translation made by Ukrainian scholars E. Honcharenko and L. Baisara is accompanied by the detailed and meticulously collected explanatory notes to the article. This piece of work deals with Stephen James Joyce (1932-2020), a grandson of the outstanding Irishman, James Joyce. An eminent Irish writer wrote the poem “Ecce Puer” to commemorate the birth of his grandson and the death of his own father John Joyce, the translation of which is also presented in this article. Stephen Joyce was the only son of George [Giorgio] Joyce, James Joyce’s son. Stephen was a grandson and the last surviving direct descendant of James Joyce. The article highlights Stephen’s real attitude to the literary inheritance of his late grandfather. The translation of the article is published with the Terence Killeen’s kind permission. The original version of the article was published in the Dublin’s newspaper “The Irish Times” on February 23, 2020. Key words: Irish scholar, Joycean, translation, translator, notes, language of original, author, Dublin newspaper, journalist

Nuevos paseantes. El síntoma lacaniano aplicado al nomadismo inocente como producción cultural del “partener”

El 15 de marzo de 2021 un vagabundo llevó a pasear en bicicleta por la ciudad de Buenos Aires a una niña “en situación de calle”. Recorrieron la ciudad relajados entre peatones y automóviles. Finalmente, fueron localizados. A pesar de la búsqueda de los medios, las redes sociales y el alerta policial, no se advirtió su presencia de estos paseantes que cruzaron la ciudad a la vista de todos. El presente artículo procura vincular este episodio con el Seminario XXIII de Jacques Lacan sobre “el síntoma”. Lacan, a partir del caso de James Joyce sostiene que desde el arte y el ingenio se desarrollan lazos originales cuando se disipan las reglas simbólicas. Aún perdura la sospecha de criminalidad en los vagabundos. El vagabundo se asemeja a los nómades prehistóricos. A su vez una niña brutalizada por su falta hogar y de educación, es un caso de cuidado. Tanta carencia la vuelve un objeto inocente, una “buen salvaje”. Consideraremos la teoría de Eric Laurent sobre el síntoma como partener de vida. El partener acompaña en el nomadismo como una forma de contacto para efectividad del lazo. El paseo por la ciudad había sido considerado ya, por Charles Baudelaire, como una costumbre ciudadana. Una necesidad de convivencia con la muchedumbre. Consideraremos la vida nómade como una forma de escape de la persecución ciudadana, de la crisis laboral, de los costos de vivir en una vivienda. Se ponen en juego lazos creativos que hacen coincidir fragmentos de la personalidad. Los paseantes forman un síntoma cultural para evitar la identificación.