In: Doubtful Points
Author: SAM SLOTE

Abstract

This essay proposes a distinction between epistemological error and ontological error in order to explore whether it is possible to talk about Finnegans Wake in terms of error at all. Epistemological error is described as deviation against some normative constitution of what is correct, whereas ontological error arises in situations where recourse to a normative (and thus regulatory) standard is ambiguous. After illustrating these concepts with examples from Ulysses, I amplify this definition by reading a passage from Kierkegaard's The Sickness unto Death and then apply it to chapter II.2 of Finnegans Wake.

In: Errears and Erroriboose
In: James Joyce and the Arts
Author: Sam Slote

Abstract

This chapter takes as its premise that once a text is translated, it is exponentially retranslatable and partakes in “the problem of textual transmission in general.” Slote centres his discussion on the issues of translatorial multiplicity, departing from a critical rereading of Derrida’s “Ulysses Gramophone.” He examines textual elements of Ulysses – the dot and the end of “Ithaca” and the instances of Joyce’s non-existent yeses that nevertheless appear in the French Ulysse, to be theorized by Derrida; Slote concludes that translation fictionalises a text by misrepresenting and falsifying the original.

In: Retranslating Joyce for the 21st Century
In: A Long the Krommerun
In: New Quotatoes: Joycean Exogenesis in the Digital Age
In: Medieval Joyce
Author: Sam Slote

Abstract

The first editor of Ulysses was James Joyce. As he was overseeing typescripts and proofs, Joyce had to correct errors and misprisions inflicted upon his text, some of which he had himself made. Of course, this editorial work was (mostly) subsumed within Joyce’s authorial role as he expanded and revised his text towards publication. Indeed, the character of the editorial emendations that Joyce made evolves over the course of Ulysses’s composition, thereby reflecting his own changing conceptions of his book.

In: James Joyce and Genetic Criticism
Genetic Studies in Joyce
Editors: David Hayman and Sam Slote
Joyce criticism is a long way from having controlled the treasure trove of manuscript materials in the 63 volume James Joyce Archive. PROBES represents a new effort of incorporating manuscript research into critical concerns demonstrating in a practical manner how genetic work contributes to a fuller and more nuanced appreciation of Joyce's work. The organization of the essays is designed to highlight our two major but interlocking concerns: the nature and theoretical underpinnings of genetic criticism of Joyce and especially of Finnegans Wake, and some of the many ways that theory can be applied to the creative situation reflected in the notes and manuscripts. The questions raised in this volume are both current and important. Like Finnegans Wake itself, the manuscript record, because it is so complete, by stimulating the reader's curiosity and ingenuity, lends itself to a variety of approaches while rewarding specialized knowledge. Here too, as we decipher and transcribe, we are well advised to follow Joyce's advice and wipe [our] glosses with what [we] know. This volume will provide much that is new and of interest for all scholars of Joyce as well as scholars interested in the issues raised by genetic criticism.
Editors: Sam Slote and Wim van Mierlo
Joyce's methods of composition have only recently begun to be examined in a rigorous fashion. Already the work done on the genesis of Joyce's texts has fostered both new insights and new questions regarding the overall status of his oeuvre. The conference Genitricksling Joyce, held at Antwerp in 1997, testified to the variety and vitality of genetic investigations into Joyce's work. We have tried to recreate this vitality in the present volume with a double purpose, or double trick. First, the essays collected in Genitricksling Joyce are not only indicative of the growing body of genetic scholarship, they also signify methodological and theoretical changes among its practitioners towards a more open form of discussion and understanding. Second, we hope that these essays will clearly demonstrate the relevance of genetic criticism to current critical and cultural concerns in Joyce studies.