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1

Biblioteka Blooma

100%

Paszek J.

Prace Filologiczne. Literaturoznawstwo

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2018

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issue 8(11) cz.2

157-166

EN

Leopold Bloom’s library contains works of various categories: religious (The Hidden Life of Christ, Philosophy of the Talmud, “an ancient hagadah book”), historical (The Secret History of the Court of Charles II, Lockhart’s Life of Napoleon, Hozier’s History of the Russo-Turkish War), astronomic (A Handbook of Astronomy, The Story of the Heavens by Sir Robert Ball), geographic (Ellis’s Three Trips to Madagascar, Voyages in China by “Viator”, In the Track of the Sun), geometric (Short but yet Plain Elements of Geometry written in French by F. Ignat. Pardies), literary (Shakespeare’s Works, Denis Florence McCarthy’s Poetical Works, When We Were Boys by William O’Brien, The Stark-Munro Letters by A. Conan Doyle, Soll und Haben by Gustav Freytag), philosophical (Thoughts from Spinoza), as well as practical guides and calendars. Most of these works and professional publications are occasionally referred to, as leitmotifs, in the epic of Dublin, yet, most frequently Joyce chooses to quote the romance book he made up, namely, Sweets of Sin! Richard M. Kain claims that there are a few thousands of leitmotifs persevering in Ulisses, which is the unquestionable essence of this encyclopaedic novel.

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Staccato czy asyndeton? Kilka uwag o „umuzycznionej” prozie powieściowej (na marginesie Syren Joyce’a)

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Barska J.

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2012

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vol. 16

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issue 2

7-33

EN

Word and music studies, which in recent years have been gaining more and more atten-tion, still remain a source of a never-ending discussion on ‘the method’ and ‘the manner of speaking’ about the manifestations of a work of music, which, put within the frames of a literary medium, exist only in the rhetorical sense, thus leading to an individual and subjective interpretation of a musical scheme. Sirens, the eleventh episode of James Joyce’s Ulysses, which was not so far analysed in the intermedial context in Poland, in-vites to a musico-literary reading — not only due to the author’s explicit hints but also the tracks in the text itself which cannot be ignored by a scholar (the sound level of the text, the presence of music within the thematic scheme, the author’s confirmation of the fugitive form of Sirens). Instead of asking whether Joyce managed to create a literary equivalent of musical fugue (which would be absurd due to the semiologic aspect), I focus on tropes employed by Joyce to blur the borderlines between literature and mu-sic. When is it justified to use musical metaphors with respect to narratives? An over-view of the western discussion over Sirens serves as a point of departure to reflect on essential issues concerning the musicalisation of fiction as such.

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Otpor materijala: teorijska vlast nad književnim tekstom

85%

Bekavac L.

Poznańskie Studia Slawistyczne

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2013

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issue 5

EN

After a brief account of Derrida’s notion of singularity as an irreducible, quasi-material layer of (literary) texts, this article attempts to delineate its effects on theoretical or scientific mastery over literature. Invention and law are examined as necessary but mutually cancelling origins of aesthetic and scientific institutions, and the final chapter – following Derrida’s Ulysse gramophone – questions the limits of theoretical competence in collision with the incalculable swerve of literarity.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Poznańskie Studia Slawistyczne

1 Prace Filologiczne. Literaturoznawstwo

1 2018

1 2013

1 2012

1 Barska J.

1 Bekavac L.

1 Paszek J.

Biblioteka Blooma

Staccato czy asyndeton? Kilka uwag o „umuzycznionej” prozie powieściowej (na marginesie Syren Joyce’a)

Otpor materijala: teorijska vlast nad književnim tekstom