Studies of the genesis of musical, literary, and theatrical works. Not only the final outcome but the process of creative endeavor has long attracted attention in various artistic disciplines, but only recently has the potential of such research been seriously explored. The most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches and drafts and preliminary studies, as well as from revised manuscripts and typescripts, corrected proof sheets, and similar primary sources. The term "genetic criticism" or "critique genetique" relates not to the field of genetics, but to the genesis of works of art, as studied in a broad and inclusive context. The essays inthis volume explore aspects of genetic criticism in an interdisciplinary context, emphasizing music, literature, and theater. A common thread pertains to the essential continuity between a work and its genesis. This volume bringstogether essays from leading scholars on subjects ranging from biblical scholarship to Samuel Beckett, and from Beethoven's Eroica Symphony to very recent musical compositions. Contributors: Nicolas Donin, Daniel Ferrer, Alan Gosman, R. B. Graves, Joseph E. Jones, William Kinderman, Jean-Louis Lebrave, Lewis Lockwood, Geert Lernout, Peter McCallum, Armine Kotin Mortimer, and James L. Zychowicz William Kinderman is Professor of Musicology at the University of Illinois at Urbana-Champaign; Joseph E. Jones is visiting Assistant Professor of Musicology at the University of Illinois at Urbana-Champaign.

From the very beginning James Joyce's readers have considered him as a Catholic or an anti-Catholic writer, and in recent years the tendency has been to recuperate him for an alternative and decidedly liberal form of Catholicism. However, a careful study of Joyce's published and unpublished writings reveals that throughout his career as a writer he rejected the church in which he had grown up. As a result, Geert Lernout argues that it is misleading to divorce his work from that particular context, which was so important to his decision to become a writer in the first place. Arguing that Joyce's unbelief is critical for a fuller understanding of his work, Lernout takes his title from Ulysses, "I believe, O Lord, help my unbelief. That is, help me to believe or help me to unbelieve?," itself a quote from Mark 9: 24. This incisive study will be of interest to all readers of Joyce and to anyone interested in the relationship between religion and literature. >

Leading Joyce scholar, Geert Lernout, argues that Joyce's work can only be fully understood in the context of his unbelief. From the very beginning James Joyce's readers have considered him as a Catholic or an anti-Catholic writer, and in recent years the tendency has been to recuperate him for an alternative and decidedly liberal form of Catholicism. However, a careful study of Joyce's published and unpublished writings reveals that throughout his career as a writer he rejected the church in which he had grown up. As a result, Geert Lernout argues that it is misleading to divorce his work from that particular context, which was so important to his decision to become a writer in the first place. Arguing that Joyce's unbelief is critical for a fuller understanding of his work, Lernout takes his title from "Ulysses", 'I believe, O Lord, help my unbelief. That is, help me to believe or help me to unbelieve?', itself a quote from Mark 9:24. This incisive study will be of interest to all readers of Joyce and to anyone interested in the relationship between religion and literature.

This is a major scholarly collection of international research on the reception of James Joyce in Europe.This collection of essays prepared by an international team of scholars, critics and translators, records the ways in which James Joyce's work has been received, translated and published in different areas of Europe. Joyce is now widely considered one of the most influential writers of the twentieth century. The impact of his work has been significant not only in the English-speaking world, but also in many European literatures. The essays in this collection explore the reception of Joyce in Germany, Russia, Scandinavia, Eastern Europe, Italy, France, Spain, Greece and Ireland.Our knowledge of British and Irish authors is incomplete and inadequate without an understanding of the perspectives of other nations on them. Each volume examines the ways authors have been translated, published, distributed, read, reviewed and discussed in Europe. In doing so, it throws light not only on the specific strands of intellectual and cultural history but also on the processes involved in the dissemination of ideas and texts.

James Joyce is now widely considered the most influential writer of the twentieth century. His name and his most important works appeared again and again in fin-de-millennium surveys. This is the case not only in the English-speaking world, but also in many European literatures. Joyce's influence is most pronounced in French, German and Italian literatures, where translations of most of his works appeared during his life-time and where he had a clear impact on his fellow-writers. In other countries and cultures, his influence took more time to register, sometimes after the war in the fifties and sixties, and sometimes only in the final decade of the century. This was the case in most of the languages of Eastern Europe, where the translation of Joyce's work could only begin after the collapse of the Soviet Union in the 1990s.This book contains two volumes.Series Editor: Dr Elinor Shaffer FBA, Institute of Germanic & Romance Studies, School of Advanced Study, University of London Contributors to the volume include: Sonja Basic (University of Zagreb) Eric Bulson, (Columbia University) Astradur Eysteinsson (University of Reykjavik) Kalina Filipova (University of Sofia) Marta Goldmann (University of Budapest) Jakob Greve (University of Copenhagen) Manana Khergiani (New York) Teresa Iribarren (University of Barcelona) Onno R. Kosters and Ron Hoffman (The Netherlands) Alberto Lazaro (University of Alcala, Madrid) Marisol Morales Ladron (University of Alcala, Madrid) Maria Filomena Louro (University of Minho, Portugal) Tina Mahkota (University of Ljubljana) John McCourt (University of Trieste) Patrick O'Neill (Queen's University, Canada) Adrian Otoiu (North University of Baia Mare, Rumania) Miltos Pehlivanos (Aristotle University, Greece) Ales Pogacnik (Slovenia) Jina Politi (Aristotle University, Greece) Steen Klitgard Povlsen (University of Aarhus) H.K.Riikonen (University of Helsinki) Frank Sewell (University of Ulster) Sam Slote (University of Buffalo) Per Svenson (Sweden) Emily Tall (University of Buffalo) Bjorn Tysdahl (University of Oslo) Tomo Virk (University of Ljubljana) Jolanta W. Wawrzycka (Radford University) Robert Weninger (Oxford Brookes University) Wolfgang Wicht (University of Potsdam) Serenella Zanotti (University of Rome) >

Survey of reception of German poet Hoelderlin in French criticism and literature, with particular attention to Heidegger and his followers. The Poet as Thinker is the first historical survey of the reception of the work of the German poet Hoelderlin (1770-1840) in French criticism and literature. After a brief description of the fate of the poet's work in Germany, from the neglect of the nineteenth century to his rediscovery at the beginning of the twentieth, Professor Lernout deals with the French translations of Hoelderlin's poetry and the importance of his writings in French philosophy. He analyses the readings by Martin Heidegger, then goes on to examine the critics whom Heidegger influenced including Beda Allemann; Philippe Lacoue-Labarthe and Jean-Luc Nancy, who have made Hoelderlin one of the central figuresin the history of metaphysics; and Georg Lukacs. Other chapters consider various psychoanalytical theories of Hoelderlin's illness, most of them in the wake of Lacan's interpretation of Freud; Derrida and Foucault are among the critics treated. Finally, the connections between Hoelderlin and such prominent twentieth-century French writers as Camus, Aragon, Pleynet, and Delmas are discussed.

A major contribution to James Joyce studies, as well as a historical review of the French intellectual climate since the 1960s.