Download Brouillons d'un baiser: Premiers pas vers Finnegans Wake by James Joyce PDF

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 los angeles première fois, dans l. a. langue originale et en traduction française, le cœur de cet ensemble qui s’organise autour de l. a. légende de Tristan et Iseult et notamment du superior baiser des deux amants. Joyce s’efforce de décrire, dans une veine tantôt gruesome, 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 type de Finnegans Wake.

Ces textes nous révèlent un point inattendu de l. a. 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."

Daniel Ferrer.

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Extra resources for Brouillons d'un baiser: Premiers pas vers Finnegans Wake

Sample text

He links melancholic identification with the genesis of ego and ego-ideal. Reading ‘Mourning and Melancholia’ together with The Ego and the Id demonstrates clearly that Freud’s study of pathological melancholia advanced a theory of subjectivity. Freud is often viewed as a modernist writer, but his work on melancholia shows how evenly he is poised between nineteenthcentury sciences and a more modern understanding of subjectivity and 21 22 Modernist Melancholia: Freud, Conrad and Ford desire as constructed in and through narrative.

From ‘Mourning and Melancholia’ to The Ego and the Id In ‘Mourning and Melancholia’ Freud explained the symptoms of melancholic patients in terms of a specific reaction to the loss of a loved object. With one exception, those symptoms correspond to the affective state of mourning: ‘The distinguishing mental features of melancholia are a profoundly painful dejection, cessation of interest in the outside world, loss of the capacity to love, inhibition of all activity, and a Freud’s Melancholic Subject 25 lowering of the self-regarding feelings to a degree that finds utterance in self-reproaches and self-revilings, and culminates in a delusional expectation of punishment’ (1917c, vol.

In Freud’s view, this intricate, dual version of the Oedipus complex is the rule rather than the exception: ‘it is advisable in general … to assume the existence of the Freud’s Melancholic Subject 29 complete Oedipus complex’ (1923b, vol. 19, p. 33). Both halves of this complete Oedipus complex, the ‘positive’ one (boy desires the mother) and its mirror image, the ‘negative’ one (boy desires his father), can coincide to strengthen the boy’s masculinity. If this is the case, the nonmelancholic identification of the ‘positive’ Oedipus complex – the identification with the father, which is the result of giving up the mother object – can be strengthened by the boy’s melancholic identification with his father whom he also has to give up as object of desire.

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