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Who has the right to speak? How is this right acquired? What
happens when this right is denied or inhibited? These are the
questions examined by Michel de Certeau in this foundational
exploration of political expression and participation.
In The Capture off Speech, de Certeau moves beyond formal or
legal definitions of rights. He argues that to "communicate" in a
contemporary political system means not only having the abstract
possibility of utterance, but possessing the conditions that allow
being heard. De Certeau emphasizes that all too often free speech
is upheld in the abstract while social institutions work in such a
way as to deny access to effective communication.
The book's title essay was written in response to the
revolutionary events of May 1968. Almost thirty years later, these
essays remain a central resource for exploring de Certeau's
political thought.
In 1929, ten years before James Joyce completed "Finnegans Wake",
Sylvia Beach published a strange book with a stranger title: "Our
Exagmination Round His Factification for Incamination of Work in
Progress". Worried by the confusion and attacks that constituted
the general reception of his "Work in Progress" (the working title
for "Finnegans Wake"), Joyce orchestrated this collection of twelve
essays and two 'letters of protest' from such writers as Samuel
Beckett, Stuart Gilbert, Eugene Jolas, Robert McAlmon, and William
Carlos Williams. "Our Exagmination" represents an altogether
unusual hybrid of criticism and advertisement, and since its first
appearance has remained a touchstone as well as a point of
contention for Joyce scholars. Eighty years later, Joyce's
"Disciples Disciplined" reads the "Exagmination" as an integral
part of the larger composition history and interpretive context of
"Finnegans Wake" itself. This new collection of essays by fourteen
outstanding Joycean scholars offers one essay in response to each
of the original "Exagmination" contributions. From philosophically
informed exegeses and new conceptions of international modernism to
considerations of dance, film, and the flourishing field of genetic
studies, these essays together exemplify an interdisciplinary
criticism that is also a lively and ongoing conversation with that
criticism's history.
Tim Conley’s Useless Joyce provocatively analyses Joyce’s
Ulysses and Finnegans Wake and takes the reader on a journey
exploring the perennial question of the usefulness of literature
and art. Conley argues that the works of James Joyce, often thought
difficult and far from practical, are in fact polymorphous
meditations on this question. Examinations of traditional textual
functions such as quoting, editing, translating, and annotating
texts are set against the ways in which texts may be assigned
unexpected but thoroughly practical purposes. Conley’s accessible
and witty engagement with the material views the rise of
explication and commentary on Joyce’s work as an industry not
unlike the rise of self-help publishing. We can therefore read
Ulysses and Finnegans Wake as various kinds of guides and uncover
new or forgotten “uses” for them. Useless Joyce invites new
discussions about the assumptions at work behind our definitions of
literature, interpretation, and use.
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