This is because philosophical Platonism, even in its Cartesian and Hegelian manifestations, is always a "matter of imitating expressing, describing, representing, illustrating an eidos or idea, whether it is a figure of the thing itself, as in Plato, a subjective representation, as in Descartes, or both, as in Hegel" Dissemination This philosophical eidos or idea is understood to exist "already in the mind like a grid without a word" The Margins of Philosophy Consequently, mimetic philosophy is governed by a metaphysical understanding of the eidos as that pre-existent entity to which all thought returns as "revelation, unveiling, bringing to light, truth" Margins In this dissertation, I consider how James Joyce's Finnegans Wake offers strategies and techniques for exploring a non-Platonic writing.
Glas explores, among other things, the sites where the Platonic sense of philosophy is overcome by the senselessness which both comes before, and remains outsid" it.
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Throughout this dissertation, I isolate these sites in order to explore the ways in which both Finnegans Wake and Glas produce remarkably similar images which resist this type of philosophy even as they give rise to it. My original contibution to both Joycean and Derridean studies lies in my suggestion that reading Joyce, especially Finnegans Wake, amounts to writing Glas insofar as both texts trace the imaginative grammar which both mimics and overruns philosophy.
It is this imaginative mimicry that permits both Finnegans Wake and Glas interact productively with each other. J Hollingdale. London; New York: Penguin Books, BP Heidegger, Martin. The Basic Problems of Phenomenology. Albert Hofstadter. Bloomington: Indiana University Press, CPR Kant, Immanuel. Critique of Pure Reason. Paul Guyer and Allen W.
D Derrida, Jacques. Barbara Johnson. Chicago: University of Chicago Press, EG Solomon, Margaret C. Carbondale: Southern Illinois University Press, James Joyce and Heraldry. KPM Heidegger, Martin.
Much more than documents.
Kant and the Problem of Metaphysics. Richard Taft. M Derrida, Jacques. Margins of Philosophy. Alan Bass. Mem Derrida, Jacques. Memoires: for Paul de Man. New York: Columbia University Press, NS Vico, Giambattista.
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The New Science of Giambattista Vico. Ithaca: Cornell University Press, OAW Vico, Giambattista.
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On the Most Ancient Wisdom of the Italians: unearthedfrom the origins of the Latin language: including the disputation with the Giornale de' letterati d'ltalia. Translated with an introduction and notes by L. SP Derrida, Jacques. David B. Preface by Newton Garver. Evanston: Northwestern University Press, TP Derrida, Jacques. The Truth in Painting. Geoff Bennington and IanMcLeod. Structure and Motif in Finnegans Wake. London: Faber and Faber, U Joyce, James. New York: Garland Publishing, , 3 volumes. WD Derrida, Jacques. Writing and Difference.
WJ Weir, Lorraine. WP Nietzsche, Friedrich. The Will to Power. Walter Kaufmann and R. Edited by Walter Kaufmann. New York: Vintage, Chapter I "Imaginary Production" 1 I "Buildung" without Eidos Finnegans Wake can be read as a book which subjects the Western philosophical eidos to an incredibly rigorous and sustained dismantling. Traditionally, philosophy has been a matter of mimesis or "imitating expressing, describing, representing, illustrating an eidos or idea, whether it is a figure of the thing itself, as in Plato, a subjective representation, as in Descartes, or both, as in Hegel" Dissemination I will discuss the various ways in which the Wake subjects this conception of the eidos as presence to questioning through what I will call the Joycean imaginary.
This imaginary, I will 2 argue, does not permit itself to be understood from within the enclosure of philosophical mimesis. The present chapter is intended to provide a brief overview of the major theoretical basis for this dissertation's exploration for the Wake's non-eidetic imaginary.
I will then explore how the Wake's non-eidetic imaginary functions as the productive site of the philosophical eidos by considering how it shares a certain affinity with what Jacques Derrida calls "catachresis" and "differance" Through this affinity, I will discuss how the philosphical eidos may be catachrestically reinscribed in a non-eidetic imaginary. In the second section of this chapter, I will discuss how Joyce's and Derrida's catachrestic imaginary can be understood to fit into the tradition of non-eidetic productive reading that finds one of its powerful expressions in the method Giambattista Vico presents in his The New Science.
Since The New Science discovers the origins of mankind in taking the auspices, Finnegans Wake can be said to participate in and reinscribe Vico's method through its detailed staging of the scene of writing that composes the hen's letter in 1. In the final section of this chapter, I will discuss how Vico's method can be understood to be closely related to what Derrida terms differance. My discussion of differance will indicate what leads this dissertation to consider the catachrestic affinity between Joyce's Finnegans Wake and Derrida's Glas as they disrupt, produce, and reinscribe the philosophical conception of the eidos.
That object is the eponymous hero, Finnegan, who is lost as the result of a fall from a high wall: The fall bababadalgharaghtakamminarronnkonnbronntonner-ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur-nuk!
"Self-penned to one’s other" : reading Joyce writing Derrida - UBC Library Open Collections
The great fall of the offwall entailed at such short notice the pftjschute of Finnegan, erse solid man, that the humptyhillhead of humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes: and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since dev-linsfirst loved liwy.
For example, after the crime and fall in 1. However, the ballad only multiplies the confusion by offering a more salacious interpretation of the fall. The ballad's hearsay finally gives way to 1. This chapter also presents three very different stagings of the crime, which has now become a fight on a plain in Ireland.
Things are further clouded when a vox pop is taken, and all and sundry offer their interpretations and opinions as to what happened. None of the witnesses can agree on what actually happened. The judges confer and decide that in the face of all the "unfacts" The litter! And the soother the bitther! Of eyebrow pencilled, by lipstipple penned. Borrowing a word and begging the question and stealing tinder and slipping like soap. The importance of Finnegan's whereabouts, crime, and fall, lies in his being paradigmatic for the search for "facts" That Finnegan is incommensurable with presence is underlined in book I, where he is served up as a fish for ritualistic consumption, only in order to disappear again: But, lo, as you would quaffoff his fraudstuff and sink teeth through that pyth of a flowerwhite bodey behold of him as behemoth for he is noewhemoe.
Only a fadograph of a yestern scene. Almost rubicund Salmosalar, ancient fromout the ages of the Ag-apemonides, he is smolten in our mist, woebecanned and packt away. So that meal's dead off for summan, schlook, schlice and goodridhirring. Finnegan does not hold out any substantial "Real Presence," because he is "noewhemoe. From the outset of the book, then, Finnegan only presents himself according to the mode of a withdrawal. The text holds out Finnegan's recovery as the paradigm for truth and meaning; but since it also disrupts that truth and meaning by disrupting presence, the Wake can be said to both grasp the structure of the philosophical eidos—where the meaning and truth have the form of a preexistent present idea that is returned to or revealed by thought—and playfully disrupt that conception of the eidos through the figure of Finnegan who never really presents himself at all.
The mode of non-presence at the beginning of the Wake does not just attach itself to the withdrawal of Finnegan into some sort of past that is to be determined. Non-presence also stretches into the future which is marked repeatedly in the opening pages of the book by the peculiar form of time, the time of the "not yet": Sir Tristram, violer d'amores, fr'over the short sea, had passen-core rearrived from North Armorica on this side the scraggy isthmus of Europe Minor to wielderfight his penisolate war: nor had topsawyer's rocks by the stream Oconee exaggerated themselse to Laurens County's gorgios while they went doublin their mumper all the time: nor avoice from afire bellowsed mishe mishe to tauftauf thuartpeatrick: not yet, though venissoon after, had a kidscad buttended a bland old isaac: not yet, though all's fair in vanessy, were sosie sesthers wroth with twone nathandjoe.
Rot a peck of pa's malt had Jhem or Shen brewed by arclight and rory end to the regginbrow was to be seen ringsome on the aquaface. This strange "not yet" empties itself of the content of an event, its historical object. The "not yet" remains an empty form of time which seems to mark nothing. Non-presence at the start of the Wake is therefore caught between two different modes of time—the past and the future.
These two modes of time work with each other in such a way so as to disrupt the presence of the truth in a present "now. Further, this disrupts what might be called the normal structure of reference whereby it would have been possible to say that certain historical events take place in either a past or a future. These temporal and spatial difficulties are unavoidable for a reader of Finnegans Wake, and I will return to them in detail in chapter II.
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It should not be thought that Finnegans Wake disables the reader by withdrawing the temporal and spatial modes of presence from the text in its opening pages. Despite these difficulties, the text offers a mode for proceeding within the empty time and space of its non-present "unquiry" into the withdrawal of presence into non-presence by counseling its reader to use what might be called after its idiom his or her "immargination": 7 Bygmester Finnegan, of the Stuttering Hand, freemen's mau-rer, lived in the broadest way immarginable in his rushlit toofar-back for messuages before joshuan judges had given us numbers or Helviticus committed deuteronomy one yeastyday he sternely struxk his tete in a tub for to watsch the future of his fates but ere he swiftly stook it out again, by the might of moses, the very wat-er was eviparated and all the guenneses had met their exodus so that ought to show you what a pentschanjeuchy chap he was!
It is what actively proceeds in the emptiness of non-presence. It does not communicate meaningful content because it reaches back into a space before "messuages. Immargination, then, goes back to a time before either the communication of meaning in message or property.
In so doing it imagines how "Bygmester Finnegan" "lived. The word Joyce uses to convey what Finnegan the builder makes— "buildung"—is a complex portmanteau word which compounds both English and German. What Finnegan makes contains the English word 'building' mixed with the German word 'Bildung' education, culture, and more generally, formation.
Also contained in the word "buildung" is a reference to the German word Bild, from which Bildung derives. Bild itself is a complicated 8 word which means picture, image, photo, frame, drawing, painting, appearance, metaphor, etc. Further, Finnegan produces these building-images "from next to nothing. Imagination takes place in the absence of truth or meaning in the paradigm of Finnegan understood as presence, and it can be understood as producing from next to nothing.
If Finnegan's burning wall-tower "eriginat[es] from next to nothing" as well, then the scene of imagination in the Wake is abyssal to the extent that Finnegan's imagined life as a b u ilder turns out to be a life of imaginative production itself. In other words, the imagination imagines a scene of imaginary production which proceeds by piling images Bild which "eriginat[e] from next to nothing," on top of each other.
As such, it metonymically imagines its actual processes in the scene of Finnegan's b u ilding. The imagination becomes a site of confusion where the "imagined" HCE "b u ildung" without model infects the "imagination" itself production without present model.