By James Joyce
Variation 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 foremost 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 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."
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Extra info for Brouillons d'un baiser: Premiers pas vers Finnegans Wake
By the 1890s the extent of union membership made them powerful enough to establish a new political party. The Independent Labour Party was formed in 1893, and in 1900 it afﬁliated to the Labour Representation Committee, the political arm of the trade union movement, which started to ﬁeld candidates in by-elections completely independently of the Liberals. In the election of 1906, 29 candidates supported by the LRC won seats, and became the Labour Party. At this time the party had no explicit policies beside support for unionism and a desire to elect working-class men to parliament, but the First World War greatly accelerated its political evolution, and after the election in 1918 – which followed the extension of the franchise in the Representation of the People Act of that year – for the ﬁrst time working-class men made up the majority of the electorate.
However, it cannot ﬁnally perhaps either reconcile or supersede them since it seeks a similar account of things through an economy or logic of the subjective, remaining largely focused on the individual perspective, expressed in language or following its logic. ’ Finally, many of the articulations of Modernism then perhaps remain radically rooted in and yet restrained by the very contradictions of modernity. These contradictions ought not to be avoided and rejected in the study of Modernism, but instead embraced.
The gramophone, and the records played on them, became commercially available at the very end of the nineteenth century, and brought recorded music into the home. The ‘cinematograph’ developed by the Lumière brothers was ﬁrst demonstrated in Paris in 1895 and London in 1896. Early ﬁlms, just a few minutes in length, were shown in music halls, at circuses and fairgrounds, and their content either mimicked these older forms of entertainment – people doing music hall ‘turns’ or circus acts – showed popular sporting occasions such as the Derby or boxing matches, or recorded everyday events.