LEADER 01256nam 2200433 450 001 9910817115303321 005 20200520144314.0 010 $a1-78310-519-4 010 $a1-78310-504-6 035 $a(CKB)4340000000264116 035 $a(MiAaPQ)EBC5343473 035 $a(Au-PeEL)EBL5343473 035 $a(CaPaEBR)ebr11542380 035 $a(OCoLC)1031345478 035 $a(PPN)233401717 035 $a(EXLCZ)994340000000264116 100 $a20180517d2018 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aImpressionism and post-impressionism /$fNathalia Brodskai?a 210 1$aNew York :$cParkstone International,$d[2018] 215 $a1 online resource (512 pages) 311 $a1-78310-144-X 606 $aImpressionism (Art) 606 $aPost-impressionism (Art) 615 0$aImpressionism (Art) 615 0$aPost-impressionism (Art) 676 $a759.05 700 $aBrodskaia$b N. V$g(Natal'ia Valentinovna),$0863734 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910817115303321 996 $aImpressionism and post-impressionism$94010366 997 $aUNINA LEADER 04757oam 22004934a 450 001 9910524845703321 005 20231214003438.0 010 $a0-8018-2148-7 010 $a1-4214-3130-0 035 $a(CKB)4100000010460901 035 $a(OCoLC)1123779397 035 $a(MdBmJHUP)muse78135 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/88845 035 $a(MiAaPQ)EBC29138959 035 $a(Au-PeEL)EBL29138959 035 $a(oapen)doab88845 035 $a(OCoLC)1526863849 035 $a(EXLCZ)994100000010460901 100 $a20190830d2019 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Decentered Universe of Finnegans Wake$eA Structuralist Analysis /$fMargot Norris 205 $a1st ed. 210 $cJohns Hopkins University Press 215 $a1 online resource (1 online resource (vii, 151 pages)) 300 $aOriginally published as Johns Hopkins Press, 1976 311 08$a1-4214-3131-9 311 08$a1-4214-3025-8 320 $aIncludes bibliographic references and index. 327 $aCover -- Copyright -- Contents -- Acknowledgments -- Abbreviations -- Introduction: The Critical Method -- Structure and Language -- Dream Theory -- Chapter One: Reading Finnegans Wake -- The Novelistic Fallacy -- The Integration of Elements -- Chapter Two: The Narrative Structure -- The Function of Repetition -- Form and the Oedipus Myth -- Myth Structures in the Dream -- The Myths of Trespass -- Chapter Three: The Themes -- Family and Society -- The Primal Scene -- Triangular Desire -- In the Name of the Father -- Redemption: The Failure of the Son -- Redemption: Maternal Salvage -- Chapter Four: The Ontological Condition -- Guilt -- Idle Talk -- Truth -- Death -- Chapter Five: Dream and Poetry -- The Dream Process -- Displacement -- Condensation -- Wit -- Chapter Six: Technique -- Deconstruction -- Imitative Form -- Bricolage -- Notes -- Bibliography. 330 $aOriginally published in 1977. The pioneer critics of Finnegans Wake hailed the work as a radical critique of language and civilization. Resuming their position, Margot Norris explains the book's most intractable uncertainties not as puzzles to be solved by a clever reader but as manifestations of a "chaosmos," a Freudian dream world of sexual transgression and social dissolution, of inauthentic being and empty words. Conventional moralities and restraints are under siege in this chaosmos, where precisely those desires and forbidden wishes that are barred in waking thought strive to make themselves felt. Norris demonstrates convincingly that the protean characters of Finnegans Wake are the creatures of a dreaming mind. The teleology of their universe is freedom, and in the enduring struggle between the individual's anarchic psyche and the laws that make civilization possible, it is only in dream that the psyche is triumphant. It is as dream rather than as novel that Norris reads Finnegans Wake. The lexical deviance and semantic density of the book, Norris argues, are not due to Joyce's malice, mischief, or megalomania but are essential and intrinsic to his concern to portray man's inner state of being. Because meanings are dislocated?hidden in unexpected places, multiplied and split, given over to ambiguity, plurality, and uncertainty?the Wake, Norris claims, represents a decentered universe. Its formal elements of plot, character, discourse, and language are not anchored to any single point of reference; they do not refer back to center. Only by abandoning conventional frames of reference can readers allow the work to disclose its own meanings, which are lodged in the differences and similarities of its multitudinous elements.Eschewing the close explication of much Wake criticism, the author provides a conceptual framework for the work's large structures with the help of theories and methods borrowed from Freud, Heidegger, Lacan, Levi-Strauss, and Derrida. Looking at the work without novelistic expectations of the illusion of some "key" to unlock the mystery, Norris explores Joyce's rationale for committing his last human panorama?a bit sadder than Ulysses in its concern with aging, killing, and dying?to a form and language belonging to the deconstructive forces of the twentieth century. 606 $aLiterature: history and criticism$2bicssc 610 $aLiterature: history & criticism 615 7$aLiterature: history and criticism 700 $aNorris$b Margot. $00 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910524845703321 996 $aThe Decentered Universe of Finnegans Wake$92676750 997 $aUNINA