Table Of ContentJames Joyce’s Silences
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Also published by Bloomsbury
James Joyce: Texts and Contexts , Len Platt
James Joyce and Absolute Music, Michelle Witen
James Joyce and Catholicism, Chrissie Van Mierlo
Th e Reception of James Joyce in Europe, edited by Geert Lernout
ii
James Joyce’s Silences
Edited by
Jolanta Wawrzycka and Serenella Zanotti
iii
BLOOMSBURY ACADEMIC
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First published in Great Britain 2018
Copyright © Jolanta Wawrzycka, Serenella Zanotti and Contributors, 2018
Jolanta Wawrzycka and Serenella Zanotti have asserted their rights under the Copyright,
Designs and Patents Act, 1988, to be identifi ed as Editors of this work.
For legal purposes the Acknowledgements on pp. ix–x constitute an
extension of this copyright page.
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Library of Congress Cataloging-in-Publication Data
Names: Wawrzycka, Jolanta W., editor. | Zanotti, Serenella, editor.
Title: James Joyce's silences / edited by Jolanta Wawrzycka and Serenella Zanotti.
Description: London ; New York, NY : Bloomsbury Academic, 2018. |
Includes bibliographical references and index.
Identifi ers: LCCN 2017056567 (print) | LCCN 2017056575 (ebook) |
ISBN 9781350036727 (ePDF) | ISBN 9781350036734 (ePUB) |
ISBN 9781350036710 (hardback : alk. paper)
Subjects: LCSH: Joyce, James, 1882-1941–Criticism and interpretation. | Silence in literature.
Classifi cation: LCC PR6019.O9 (ebook) | LCC PR6019.O9 Z6454 2018 (print) |
DDC 823/.912–dc23
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iv
In Memory of Rosa Maria Bollettieri Bosinelli
v
vi
Contents
Acknowledgments ix
Contributors xi
Bibliographical Note xv
Introduction: “Listening to the unspoken speech behind the words”
( P 242)
Jolanta Wawrzycka and Serenella Zanotti 1
Part 1 Th e Language of Silence
1 Active Silences
Fritz Senn 13
2 Joyce’s Art of Silence in D ubliners and A Portrait of the Artist
as a Young Man
Laura Pelaschiar 33
3 What Happens When “Th e silence speaks the scene” ( FW 13.3)?
Rosa Maria Bollettieri Bosinelli and Ira Torresi 51
4 In the Beginning was the Nil: Th e “eloquence of silence” in
Finnegans Wake
Laurent Milesi 61
Part 2 Th e Aesthetics of Silence
5 “Fragments of shapes, hewn. In white silence: appealing”: Silence
and the Emergence of a Style from G iacomo Joyce to Ulysses
John McCourt 81
6 Joyce and the Aesthetics of Silence: Absence and Loss in “Th e Dead”
Teresa Caneda Cabrera 93
7 “Affi rmations and negations invalidated as uttered” in U lysses
and How It Is
Sam Slote 105
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viii Contents
8 “Shut up he explained”: Joyce and “scornful silence”
Morris Beja 115
Part 3 Writing Silence
9 Th e Silent Author of James Joyce’s Dictated Letters
William S. Brockman 123
10 “Secrets, silent . . . sit” in the Archives of Our Publishers: Untold
Episodes from Joyce’s Italian Odyssey
Sara Sullam 135
11 Th e Silence of the Looms: “Penelope” as Translation
Tim Conley 153
Part 4 Translating Silence
12 Silent Translation in Joyce
Serenella Zanotti 171
13 “Mute chime and mute peal”: Notes on Translating Silences in
Chamber Music
Jolanta Wawrzycka 191
14 “Music hath jaws”: Translating Music and Silence in U lysses
Erika Mihálycsa 209
Coda Modernism/Silence
15 Forms of Silence in Literary Writing: James Joyce and Modernism
Franca Ruggieri 233
Index 247
Acknowledgments
Th ere are many people we wish to thank and acknowledge, but we owe a special
debt to Rosa Maria Bollettieri Bosinelli who conceived the original plan for this
book. It is only thanks to her uniquely creative mind, energy, and enthusiasm
that the project was made possible. In her own academic work, she provided a
model of interdisciplinary scholarship at its best and we consider ourselves lucky
to be among the scholars who benefi ted from her support and friendship. Rosa
Maria is no longer with us but her spirit lives on in these pages. We dedicate this
book to her memory.
Rosa Maria came up with the idea for the Joyce’s Silences panels at the 2013
Zurich Workshop. She then proceeded, in her all- inclusive fashion, to round up
presenters and to co- organize, with Serenella Zanotti, a memorable three- session
panel, Silencing Joyce: Omission, Absence, Translation and Beyond , at the 24th
International James Joyce Symposium held at the University of Utrecht in 2014.
We would like to thank the conference organizers, Onno Kosters, David Pascoe,
Peter de Voogd, and Tim Conley, for the opportunity to set up the sessions and
for their kind and friendly hospitality. Special thanks go to Alistair Stead, Richard
Brown, and Murray Beja for acting as panel respondents.
We wish to thank Elizabeth Bonapfel, Luca Crispi, Tim Martin, Patrick
O’Neill, Jean-Michel Rabaté, Paola Pugliatti, Sam Whitsitt, and Romana Zacchi
for their comments on the initial submissions. Th ey greatly contributed to the
quality of the fi nal essays.
Our sincere thanks are due to the editorial staff of Bloomsbury Publishing,
especially to David Avital and Clara Herberg for their invaluable help and
support, to the production team, Merv Honeywood and Lauren Crisp, and to
our superb copy- editor, Ronnie Hanna.
We would like to thank the Mondadori Foundation, particularly archivist
Annalisa Cavazzuti, and the RCS foundation for granting permission to Sara
Sullam to quote from their materials. We also wish to acknowledge Franca
Ruggieri, editor of Joyce’s Poesie e prose , for permission to use three poems from
Musica da camera , translated by Alfredo Guiliani. (Wydawnictwo Literackie,
publisher of the Polish translation of Chamber Music , has not responded to our
requests for permissions). Finally, we acknowledge Brill/Rodopi for permission
ix
