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Joyce and Brancusi. (1929) P ISBN 978-606-760-007-0 Cover Design and overall Layout by Lidia Vianu © The University of Bucharest © C. George Sandulescu © Lidia Vianu © Ioan Iovitz Popescu © Egbert K. Duursma © Gabriel Altmann Acknowledgements C. George Sandulescu, Monaco; Lidia Vianu, Bucharest; Ioan-Iovitz Popescu, Bucharest; Andrew Wilson, Lancaster; Rosie Knight, Lancaster; Gabriel Altmann, Lüdenscheid: ‘Quatifying Joyce’s Finnegans Wake’, Glottometrics 30/2015, RAM-Verlag, pp19-44 Ioan-Iovitz Popescu, The Romanian Academy journal of physics Studii şi Cercetări de Fizică, vol. 34, Editura Academiei, 1982, pp451-468 Max Richter: Filozofie. Ştiinţe moderne. Poezie, Inst. de arte grafice „Tiparul Universitar, Bucureşti, 1939, p.4 Egbert K. Duursma: Einstein’s Cosmic Ether, the Atomic Ether, Their Etherons and Our Mind, 2013, pp12-19 Emanuel Swedenborg, Heaven and its Wonders and Hell, from Things Heard and Seen [De Caelo et eius Mirabilibus et de Inferno, ex auditis et visis, translated by John Ager, 1758 Ferdinand de Saussure: Cours de linguistique générale, Ed. Payot, 1964, pp. 98-101 Constnatin Brancusi: Portratits of James Joyce Lidia Vianu and C. George Sandulescu: ‘The Romanian Language in James Joyce’, The European English Messenger, volume 23.2, winter 2014, pp56-66 C. George Sandulescu and Lidia Vianu: Joyce’s “Words” in Finnegans Wake. Alphabetical. Complete, Contemporary Literature Press, 2014, http://editura.mttlc.ro/FW-joyce-words.html C. George Sandulescu, The Language of the Devil, Texture and Archetype in Finnegans Wake, Collin Smythe Ltd of London and Dufour Editions of Chester Springs, Pennsylvania, 1987, ‘Cartouching’, pp81-94 Lidia Vianu Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 1 Contents The Quark—Thought-Syllable-Sound p. 6 I. Blaise Pascal—La Pensée. ‘Travaillons donc à bien penser.’ (1670) p. 13 Max Richter—The Mind. ‘...în fiecare atom al naturii se găseşte o inteligenţă.’ (1939) p. 14 Ioan Iovitz Popescu—The Etheron. (1982) p. 15 James Joyce—The Quark. (1939/1964) p. 16 Egbert K. Duursma—The bridge between Matter and Mind. (2013) p. 17 Emanuel Swedenborg—The Angels in Conversation with Man. (1758) p. 20 Ferdinand de Saussure—Le Signe. Le Signifiant. Le Signifié. (1916) p. 25 Roman Jakobson—’Le signe est un renvoi.’ (Milan, 1972) p. 27 George Sandulescu—The Multi-Sign. p. 28 II. Circle, Axis, and Sphere: Joyce and Brancusi. (1929) p. 31 Le sens du pousser: Brancusi’s Portraits of Joyce... p. 32 Brancusi’s Signs—Used to portray James Joyce. p. 33 Joyce and Brancusi. p. 34 The Sphere—W.B. Yeats. (1933) p. 44 Charles Ogden—The Meaning of Meaning. (1923) p. 47 C. George Sandulescu and Lidia Vianu: The Letter G from p. 48 Joyce’s ‘Words’ in Finnegans Wake. Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 2 III. C. George Sandulescu—Cartouching p. 94 Appendices p. 110 C. George Sandulescu—Only Connect... p. 111 Quantifying Joyce’s Finnegans Wake p. 132 A Manual for the Advanced Study of James Joyce’s Finnegans Wake p. 169 in 121 Volumes... Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 3 Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 4 (FW455.16:5) Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 5 (Stoop) if you are abcedminded, to this claybook, what curios of signs (please stoop), in this allaphbed! Can you rede (since We and Thou had it out already) its world? It is the same told of all. Many. Miscegenations on miscegenations. Tieckle. They lived und laughed ant loved end left. Forsin. FW 018.17 seeker of the nest of evil in the bosom of a good word FW189.28:6 And wordloosed over seven seas crowdblast in celtelleneteutoslavzendlatinsoundscript. FW219.16:6 Lets hear in remember FW338.32:8 Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 6 The Quark— Thought-Syllable-Sound As a child I only had one favourite toy. No other toy meant anything to me at all. I despised their make-believe. But this one toy—if a toy it was—showed me the secret of my world. Its name was kaleidoscope. When Ioan-Iovitz Popescu was visited by the idea of the Etheron, he thought of a Kaleidoscope which builds shapes—innumerable shapes—out of smallest units of matter. While working on Joyce’s Finnegans Wake for a long time, George Sandulescu was the first to notice that, when faced with language, Joyce was like a child with a kaleidoscope. His Etherons were the Thought-Syllable-Sounds. Joyce’s own name for them was Quarks. ‘The Universe is filled almost exclusively with particles of tiny mass, m = ħH/2c2 ≈ 1,349410-69 kg, moving at random at light speed, c, where ħ is the reduced Planck’s constant and H is Hubble’s constant.’ These tiny particles were named Etherons by Ioan-Iovitz Popescu. The cosmic Etherons are always free: they can go right through the most rarefied matter, through all temporary structures. Nothing can stop or capture them, except highly dense etheron concentrations such as found within atomic nuclei. Brancusi’s view of the universe is built on a very simple idea: circles revolving round an axis suggest space, an endless spiral—the Column of the Infinite. Joyce’s books suggest a similar spiral: they are built on one very simple thought. That thought is the axis. The circles revolving around it are ...words?.. syllables?.. Syllable-Sounds. Joyce found his own Etheron: it was the Thought-Syllable-Sound (TSS). He Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 7 himsellf called it the Quark. This tiniest particle of Joycean craft transits freely languages, stories, minds, history, geography, music, and so much more. It is faster, and infinitely simpler than all the forms of communication that we know. While using it, Joyce’s message to us is: I think in your mind: your language is in the way. With an addition, though: Language is so much fun if you make it your own. So is everything: history, literature, geography, music... Find me out. Continue what I have begun. Lisant au livre de lui même. Meaning A meaningful story—with its necessary fixed structure, suspense and clear ending—is a statement of mortality. Joyce calls it ‘sotisfiction’ (FW452.06:9)—a suggestion that fiction makes us ‘sots’ (stupid readers). Eliot stated that the ‘meaning’ of a poem was a ‘habit’ of the reader’s mind: The chief use of the ‘meaning’ of a poem, in the ordinary sense, may be (for here again I am speaking of some kinds of poetry and not all) to satisfy one habit of the reader, to keep his mind diverted and quiet, while the poem does its work upon him: much as the imaginary burglar is always provided with a bit of nice meat for the house-dog. (‘Reflections on Vers Libre’, 1919) Meanings, eventually, end up as clear explanations. In spite of the fact that Eliot claimed that he did not trust meanings, he did add Notes to his Waste Land. Those Notes were meant to clarify the Signs in his lines, to help the reader figure out what the poet had meant to say. James Joyce left us a vortex of particles: words, letters suggestive of a name, a place, a song, fragments of one language or another. It is a captivating adventure— better than any story ever—to trace all the suggestions enclosed in one single word. Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 8 On the other hand, as Joyce once put it, mistaken readings of signs are welcome ‘portals of discovery’. The Sign, however, is not enough for James Joyce: it leads to more of the same. Consequently, he chooses to guide his readers towards his Quarks by means of the Fragestellung Method. Brancusi declared that his portraits of Joyce expressed a feature which he had detected in the writer: le sens du pousser. Going in that direction, what a question conveys is precisely le sens du pousser: unlike the sign, it opens an unpredictable road. Between writer and reader, it grows into a vortex, a world of its own. The only way to read Joyce is to find his questions, his Quarks, in every word. On the surface, at least, Finnegans Wake is a huge quiz. It has a number of possible answers, some of which are thoroughly enjoyable. They are, in fact, fairly simple, sometimes obsessive answers. On the other hand, Finnegans Wake comes fairly close to Swedenborg’s ‘speech of angels’. It shortcircuits any exchange of words, of signs. While reading it it, minds connect without need for explanation: ‘Angels can express in a single word what a man cannot express in a thousand words. Again, a single angelic word contains innumerable things that cannot be expressed in the words of human language; for in each of the things uttered by angels there are arcana of wisdom in continuous connection that human knowledges never reach.’ [Emanuel Swedenborg, Heaven and Hell, 269] ‘Meaningful’ literature is short-term literature: it stops once we have found an answer, once we have explained the writer’s signs. There is a huge difference between one-meaning-signs and multiple-question-mark-Quarks. Joyce’s ‘Bygmester Finnegan’ (FW004.18:1)—who was a meşter, like Brancusi himself—starts from a word, expanding it from circle to spiral, until it grows into a vortex. Joyce wrote books based on an idea as simple as Brancusi’s ‘Coloana Infinitului’. His story is the simplest story of them all: it is his own biography. To that, he adds a few more recurring stories, whose meaning, unlike Eliot, he practically hides under the carpet. Lidia Vianu Joyce Lexicography Volume 121 The “Quark”... 9 According to Egbert Duursma, by travelling so easily from shape to shape, from man to man, from what we call ‘past’ to ‘present’ or ‘future’, Etherons are the bridge between matter and mind.
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