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joyceMedia James Joyce, Hypermedia & Textual Genetics edited by Louis Armand þ Litteraria Pragensia Prague 2006 Copyright © Louis Armand, 2004, 2006 Copyright © of individual works remains with the authors. First edition published 2004 by Litteraria Pragensia Second edition published 2006 Faculty of Philosophy, Charles University Náměstí Jana Palacha 2, 116 38 Prague 1 Czech Republic www.litterariapragensia.com All rights reserved. This book is copyright under international copyright conventions. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the copyright holders. Requests to publish work from this book should be directed to the publishers. The publication of this book has been supported by: research grant MSM0021620824 “Foundations of the Modern World as Reflected in Literature and Philosophy” awarded to the Faculty of Philosophy, Charles University, Prague, by the Czech Ministry of Education; and by a grant from the Cultural Relations Committee of Ireland / Comhar Cultúra Éireann of the Ministry of Foreign Affairs, Ireland. Cataloguing in Publication Data Joyce Media” James Joyce, Hypermedia & Textual Genetics, edited by Louis Armand.—2nd ed. p. cm. ISBN 80-239-2266-1 (pb) 1. James Joyce. 2. Literary Theory. 3. Hypermedia. 4. Textual Genetics. I. Armand, Louis. II. Title Typeset & design by Lazarus Printed in the Czech Republic by PB Tisk CONTENTS Abbreviations vii Preface ix Louis Armand INTRODUCTION: LITERARY ENGINES 1 \1 Donald F. Theall TRANSFORMATIONS OF THE BOOK IN JOYCE’S DREAM VISION OF DIGICULTURE 28 Mark Nunes GAPS AND CONVERGENCES IN THE JOYCEAN NETWORK 44 Laurent Milesi H Y P E R W A K E 3D 66 Louis Armand FROM HYPERTEXT TO VORTEXT 73 \2 Daniel Ferrer THE WORK OF JOYCE IN THE AGE OF HYPERTEXTUAL PRODUCTION 86 Marlena Corcoran SIRENS TO CYCLOPS: MOMENTARY JUXTAPOSITION IN GENETIC HYPERTEXT 105 Michael Groden PROBLEMS OF ANNOTATION IN A DIGITAL ULYSSES 116 Dirk Van Hulle AN ELECTRONIC STEREOPTICON: DISTRIBUTION AND RE- COMBINATION IN JOYCE’S “GUILTLESS” COPYBOOK (BL 47471B) 133 /3 Thomas Jackson Rice I DO MINCE WORDS, DON’T I? ULYSSES IN TEMPORE BELLI 144 Alan R. Roughley ENTEN: SUBJECTS: BURGESS, SHAKESPEARE, JOYCE [TEXT, INTERTEXT; HYPERTEXT, VORTEX] 152 Darren Tofts ASSESSING THE GREEN BOX ULYSSES: PROLEGOMENA TO JOYCEAN HYPERTEXTUALITY 165 Notes on Contributors 174 ABBREVIATIONS Finnegans Wake has been cited following the standard form used by Joyce scholars, either by page number and line—viz. (278.13)—or, with reference to the accepted division of the text into four books with chapters, by Roman numeral (book) and Arabic numeral (chapter)—viz. (III.2). The following abbreviations are used throughout the text: D Dubliners, ed. Robert Scholes with Richard Ellmann. New York: Viking Press, 1967. P A Portrait of the Artist as a Young Man. The definitive text corrected from the Dublin Holograph by Chester G. Anderson and edited by Richard Ellmann. New York: Viking Press, 1966. U Ulysses. New York: Random House, 1934, reset and corrected 1961. FW Finnegans Wake. London: Faber and Faber, 1939. CW The Critical Writings of James Joyce. Eds. Ellsworth Mason and Richard Ellmann. New York: Viking Press, 1959. L Letters of James Joyce. Vol. I, ed. Stuart Gilbert. New York: Viking Press, 1957; re-issued with corrections 1966. Vols. II and III, ed. Richard Ellmann. New York: Viking Press, 1966. SL Selected Letters, ed. Richard Ellmann. New York: Viking Press, 1975. Census Adaline Glasheen, A Census of Finnegans Wake, III vols. Evanston: Northwestern University Press, 1952; 1963; 1977. JJI Ellmann, Richard. James Joyce. London: Oxford University Press, 1959. JJII Ellmann, Richard. James Joyce. Revised edition. London: Oxford University Press, 1982. AWD A Wake Digest, eds. Clive Hart and Fritz Senn. Sydney: Sydney University Press, 1968. AWN A Wake Newslitter FWC A Finnegans Wake Circular JJLS James Joyce Literary Supplement JJQ James Joyce Quarterly JJR James Joyce Review BM British Museum + catalogue number (documents belonging to Joyce, including Finnegans Wake drafts, lodged with the British Museum by Harriet Shaw Weaver. Cf. JJA). JJA James Joyce Archive, ed. Michael Groden, et al. New York and London: Garland Publishing, 1977-79. N.B. The correlation of the Finnegans Wake notebooks and drafts within the James Joyce Archive are as follows: JJA 28 Finnegans Wake: Buffalo Notebooks VI.A JJA 29 Finnegans Wake: Buffalo Notebooks VI.B.1-4 JJA 30 Finnegans Wake: Buffalo Notebooks VI.B.5-8 JJA 31 Finnegans Wake: Buffalo Notebooks VI.B.9-12 vii JJA 32 Finnegans Wake: Buffalo Notebooks VI.B.13-16 JJA 33 Finnegans Wake: Buffalo Notebooks VI.B.17-20 JJA 34 Finnegans Wake: Buffalo Notebooks VI.B.21-24 JJA 35 Finnegans Wake: Buffalo Notebooks VI.B.25-28 JJA 36 Finnegans Wake: Buffalo Notebooks VI.B.29-32 JJA 37 Finnegans Wake: Buffalo Notebooks VI.B.33-36 JJA 38 Finnegans Wake: Buffalo Notebooks VI.B.37-40 JJA 39 Finnegans Wake: Buffalo Notebooks VI.B.41-44 JJA 40 Finnegans Wake: Buffalo Notebooks VI.B.45-50 JJA 41 Finnegans Wake: Buffalo Notebooks VI.C.1,2,3,4,5,7 JJA 42 Finnegans Wake: Buffalo Notebooks VI.C.6,8,9,10,16,15 JJA 43 Finnegans Wake: Buffalo Notebooks VI.C.12,13,14,17,11,18 JJA 44 Finnegans Wake: Bk. I.1, Drafts, TSS and Proofs JJA 45 Finnegans Wake: Bk. I.2-3, Drafts, TSS and Proofs JJA 46 Finnegans Wake: Bk. I.4-5, Drafts, TSS and Proofs JJA 47 Finnegans Wake: Bk. I.6-7, Drafts, TSS and Proofs JJA 48 Finnegans Wake: Bk. I.8, Drafts, TSS and Proofs JJA 49 Finnegans Wake: Bk. I, Galley Proofs, Vol.1 JJA 50 Finnegans Wake: Bk. I, Galley Proofs, Vol.2 JJA 51 Finnegans Wake: Bk. II.1, Drafts, TSS and Proofs JJA 52 Finnegans Wake: Bk. II.2, Drafts, TSS and Proofs, Vol.1 JJA 53 Finnegans Wake: Bk. II.2, Drafts, TSS and Proofs, Vol.2 JJA 54 Finnegans Wake: Bk. II.3, Drafts, TSS and Proofs, Vol.1 JJA 55 Finnegans Wake: Bk. II.3, Drafts, TSS and Proofs, Vol.2 JJA 56 Finnegans Wake: Bk. II.4, Drafts, TSS and Proofs JJA 57 Finnegans Wake: Bk. III.1-2, Drafts, TSS and Proofs JJA 58 Finnegans Wake: Bk. III.3, Drafts, TSS and Proofs, Vol.1 JJA 59 Finnegans Wake: Bk. III.3, Drafts, TSS and Proofs, Vol.2 JJA 60 Finnegans Wake: Bk. III.4, Drafts, TSS and Proofs JJA 61 Finnegans Wake: Bk. III, transition Pages JJA 62 Finnegans Wake: Bk. III, Galley Proofs JJA 63 Finnegans Wake: Bk. IV, Drafts, TSS and Proofs viii PREFACE The genesis of this book extends back over the last ten years, during which time it has taken a number of different conceptual forms, few of which resemble the current volume whose realisation has been, in many senses, fortuitous and linked to an equally fortuitous event—the Prague James Joyce Colloquium, held in September 2003, to address the topic of “Joycean Genetics and Hypertext.” The Colloquium participants included Derek Attridge, Daniel Ferrer, Stacey Herbert, Laurent Milesi, Luca Crispi, Vincent Deane, Alan Roughley, myself, and (in absentia) Michael Groden, Fritz Senn and Sam Slote. In certain respects the Colloquium was a type of re-union. At the James Joyce Symposium in Seville, in 1994, I first encountered Daniel Ferrer’s work on hypertextual applications to the genetic analysis of “avant- textes,” along with Laurent Milesi’s work on textual genetics. Alan Roughley, myself and Darren Tofts shared a panel on “Joyce’s Philosophical Intertexts” (Tofts’s paper from that event, on Joyce and Duchamp, is reproduced here). It was also the last Symposium that Bernard Benstock attended, shortly prior to his untimely death, and in many respects marked the end point of an important stage in the critical-theoretical engagement with Joyce’s texts. It would be another five years before work like Alan Roughley’s Reading Derrida Reading Joyce would finally get to print, having been commissioned under Benstock’s editorship at the University Press of Florida’s Joyce series. That a distinct stage in Joyce “theory” was about to emerge—separate from the mainstream of “method” theorising (applying to Joyce the latest theory that comes along)—became evident the following June, at Brown University where, on the initiative of Bob Scholes, Daniel Ferrer presented a keynote address on Joycean hypertext (as well as a hypertext demonstration in partnership with the Intermedia Lab) alerting the world to the fact of a major development in both the theoretical and practical engagement with Joyce’s texts, one which, far from being simply a “method,” had its genesis in the work itself (and the work-in-progress) of Joyce. The Brown conference also saw the first panel discussion of Joycean hypertext, chaired by Morris Beja, with Bill Brockman, Jim LeBlanc, and myself. This was followed at the Chicago MLA convention that December by a panel discussion on the question of “Theorising Knowledge in/of the Joycean Text,” chaired by Margot Norris, with Michael Groden, myself and Paul Saint Amour. And it was at this event, during a reception at the Hyatt Regency hosted by the then Joyce Foundation president, Karen Lawrence, that the idea of this volume first seriously arose—in a discussion that involved Derek Attridge, Sheldon Brivic, Brandon Kershner and the editor-in-chief of FUP, Walda Metcalf. ix During 1994 and 1995, numerous hypermedia projects focused on Joyce— many with pedagogical intentions—were being undertaken, often spontaneously and independently of one another, in Australia, Europe and North America. In large part this was due to the fact that in 1991 the majority of Joyce’s work had moved out of copyright, followed by a rash of publishing activity, not only within the conventional publishing industry, but also online and on CD-ROM.
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    the utenberg galaxy the uten,berg galaxy the making of typographic man by Marshall McLuhan University of Toronto Press Copyright, Canada, 1962 / UNIVERSITY OF TORONTO PRESS / Printed in Canada Reprinted 1962 Contents Prologue 1 The Gutenberg Galaxy 11 The Galaxy Reconfigured 265 Bibliographic Index 281 Index of Chapter Glosses 291 The Gutenberg Galaxy develops a mosaic or field approach to its problems. Such a mosaic image of numerous data and quotations in evidence offers the only practical means of revealing causal operations in history. The alternative procedure would be to offer a series of views of fixed relationships in pictorial space. Thus the galaxy or constellation of events upon which the present study concentrates is itself a mosaic of perpetually interacting forms that have undergone kaleidoscopic transformation— particularly in our own time. With reference to the current transformation, the reader may find the end of the book, "The Galaxy Reconfigured," the best prologue. Prologue * The present volume is in many respects complementary to The Singer of Tales by Albert B. Lord. Professor Lord has continued the work of Milman Parry, whose Homeric studies had led him to consider how oral and written poetry naturally followed diverse patterns and functions. Convinced that the poems of Homer were oral compositions, Parry "set himself the task of proving incontrovertibly if it were possible, the oral character of the poems, and to that end he turned to the study of the Yugoslav epics." His study of these modern epics was, he explained, "to fix with exactness the form of oral story poetry. Its method was to observe singers working in a thriving tradition of unlettered song and see how the form of their songs hangs upon their having to learn and practice their art without reading and writing."' Professor Lord's book, like the studies of Milman Parry, is quite natural and appropriate to our electric age, as The Gutenberg Galaxy may help to explain.

  • The “Gutenberg Galaxy” and the Historical Study of the New Testament

    ARTICLE THE “GUTENBERG GALAXY” AND THE HISTORICAL STUDY OF THE NEW TESTAMENT Werner Kelber Rice University, Houston [email protected] Since the consequences of printing have not been thoroughly explored, guidance is hard to come by. (Elizabeth Eisenstein, The Printing Press as an Agent of Change, 70) We are confronted with our present-day habits of thought; for we ourselves think of books as “containing” chapters and paragraphs, paragraphs as “containing” sentences, sentences as “containing” words, words as “containing” ideas, and finally ideas as “containing” truth. Here the whole mental world has gone hollow. (Walter J. Ong, Ramus, Method and the Decay of Dialogue, 121) All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered. (Marshall McLuhan, The Medium is the Massage. https://pdf. yt/d/vNiFct6b-L5ucJEa ABSTRACT The general thesis of this essay states that Gutenberg’s print revolution has been a constitutive factor in the formation of the modern scholarship of the Bible. Specifically, the essay explores the historical-critical study of the New Testament from the angle of the typographic medium. Gutenberg’s print Bible is explained as setting the standards for the technologically-organised typographic space. The bulk of the essay describes both the constructive and the deconstructive impact that the fully rationalised format of the Bible has had on theological, exegetical, and hermeneutical sensibilities. Among the issues illuminated by the typographic examination are: entirely identical biblical texts; a text-centred concept of Christian origins; the spread of a post-Gutenberg intellectualism; the rise of the critical, textual edition; the Protestant principle of sola scriptura; the diminution of oral, memorial sensibilities; the premise of originality versus derivativeness, and many others.