Radio DelEuZe: a tongue of debouchement and river

30.7.09

a tongue of debouchement and river

My imagination grows when I read Vico as it doesn't when I read Freud or Jung. - Joyce

'Are you yung and easily freudened?'

'What clashes here of wills gen wonts, oystrygods gaggin fishy- gods! Brékkek Kékkek Kékkek Kékkek! Kóax Kóax Kóax! Ualu Ualu Ualu! Quaouauh!'

p4 Finnegans Wake

Finnegans Wake
the title is in the plural non
possessive
the collective
dispossessed

the multi
clables
as Joyce
puts it

as th mouths

of many rivers meet so do their hundreds of names. the great comedy unfolds. loads and loafs of becoming. becoming this and that and everthingelse inbirtween. mister inburrtweens. ShemShaun and the 'whole blodyn whorld.'
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a writer's life is a map of a world thus:

a writer 's life becomes a teaching: a form telling us about a milieu that otherwise would not perhaps be seen, and discussed in the same manner:

Rossanda was born in Pula (or, in Italian, Pola), on the Istrian peninsula,
where Joyce taught for a number of months before settling in nearby
Trieste. In her memoir, she observes that the authorities do not know
whether to write ‘Pola, Italia’ or ‘Pola, Croazia’ on her passport: they
cannot establish her nationality. Bettiza compares his own complex
family history to Rossanda’s:
It struck me that Rossanda’s Istrian father spoke Italian, German, and Serbo-
Croat like my Dalmatian father; that both took their degrees in Vienna; that
both had been irredentists; that both had served during the First World War in
the Austro-Hungarian army, trying not to shoot Italians.

_____________ So the map reconstituted om the basis of his wanderings
and works as in Ulysses shows what we had not seen previously.

So we are differences . Humped and gettwogethered in. Love's sweep ouldsang. Sung the ripe of Gully 30th.

______________________ Ah, the ghaship of agrape riders liphe ~

According to Richard Ellmann's biography James Joyce (rev.1982), Pola was 'a queer old place' to Nora, 'a back-of-God-speed place,' in fact, 'a naval Siberia' to Joyce (186).

I doan like pictures as this. they give mea chill so I woanshow id. goseegforyerselve.

Bronze statue of James Joyce in Pola executed by Mate Čvrljak, a Croatian sculptor from Labin (Albona).

Whyee doanyaligebictchers?Mister D?
I donne hear them.

MATE ČVRLJAK and BRANISLAV BIMBAŠIĆ
Model, Artist and Maecenas
(talk about Joyce’s statue in Pula)
the link to this talk appears to have vanished into the thin air of internet ~
_________________________________________________________________
the photo is from
Istrianet.org which has a page dedicated to the time JJ spent in Istria in the old Austro Hungarian Empire. Joyce moved from city to city for a number of years, spinning his yarn.

__________________

Vico Vico Vico

Mister Vico your round again. Round again in y our fishy gawds and bicycle bawds. the merrycomesome crew. its few and blue ~

riverrun, past Eve and Adam's, from swerve of shore to bend
of bay, brings us by a commodius vicus of recirculation back to
Howth Castle and Environs.

FW 3

__________AnD What I most detested was Hegelianism and dialectics.

_____

__________AnD

What I most detested was Hegelianism and dialectics.

And : The question of speed is important and also very complex. It doesn't mean the first in the race: you can be late through speed. Speed is to be caught in a becoming_ which is not a development or an evolution. One must be like a taxi, queue(ligne d'attente), line of flight, traffic jam, bottleneck, green and red lights, slightly paranoid,brushes with the police. To be an abstract and broken line, a zigzag which glides 'between'. The grass and speed. What you misnamed style just now_ charm or style_ is speed.

And :One only discovers worlds through a long, broken flight.

_AnD______as_______for___

As for the method of deconstruction of texts I see clearly what it is, I admire it a lot, but it has nothing to do with my own method. I do not present myself as a commentator on texts.

For me, a text is merely a small cog in an extra-textual practice. It is not a question of commenting on the text by a method of deconstruction, or by a method of textual practice, or by other methods; it is a question of what use it has in an extra-textual practice that prolongs the text ..

Professor D Challanger speaking

in Clinical Critical terms as the hat was in the wind

How else?

How else can one write of those things which one doesn't know, or knows badly? It is precisely here that we imagine having something to say. We write only at the frontiers of our knowledge, at the border which separates our knowledge from our ignorance and transforms the one to the other.
Only in this manner are we resolved to write. To satisfy ignorance is to put off writing until tomorrow -or rather, to make it impossible. Perhaps writing was a relation to silence altogether more threatening that that, which is supposed to entertain with death.
_______________________

Difference and Repetition.