Joyces Mistakes

Conley, Tim

doi:10.3138/9781442676442

Cited by 6 publications

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“…For Tim Conley, 70 Joyce's numerous intentional and accidental mistakes conspire to foster a pervasive 'aesthetic of error'. 71 In this light, the very status bestowed upon error in Perec's system of constraints suggests yet another aspect of his alignment with Joyce.…”

Section: Ch 36 " Homme Librementioning

confidence: 98%

Hoaxville: Reading Perec Reading Joyce

Baron¹

2015

James Joyce Quarterly

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This essay explores Perec's fascination with Joyce and the influential role played by Ulysses in the development of his avant-gardist writing practices. Whilst acknowledging Perec's cautious receptiveness to a number of contemporary cultural currents and the formative significance of his involvement in the OuLiPo, the piece highlights the extent of his lifelong engagement with Joyce, and argues for a connection between the different, but equally extreme forms of intertextuality cultivated by both writers. Focusing on the extraordinarily artful ways in which quotations from Ulysses are deployed in Life A User's Manual (1978), it identifies the many and complex ways in which Perec's rule-governed intertextual system draws on and departs from Joyce's precedent. Perec, avant-gardiste? At the time of his death in 1982, Georges Perec had been a recognized figure of France's literary avant-garde for seventeen years. In 1965, his first novel, Things, had been awarded the Prix Renaudot, 1 and since then Perec had been, if not exactly in the limelight, then at least a man to watch. In 1978 Life A User's Manual, the work now widely considered to be his masterpiece, was awarded the Prix Médicis, confirming his position in the national consciousness as an author of the very first rank. 2 Although Perec was 'never particularly interested in literary society, even when literary society became interested in him', 3 his friendships, literary enthusiasms, and Parisian context brought him into contact with the members of a number of movements and avant-gardes. His enthusiasms were not modish, however. Especially early on in his writing life, he was forthrightly dismissive of certain of his eminent contemporaries, 'view[ing] "committed literature" as old hat, and refus[ing] to take seriously the work of the "new novelist" Alain Robbe-Grillet'. 4 On the other hand, however, he was partial to the writings of Michel Butor, whom he later credited as the source of his conception of literature as a jigsaw puzzle. 5 In 'the age of the media guru', Perec expressed contempt for what he saw as the empty posturing of Tel Quel, referring to 'Philippe Sollers and his friends', for instance, as 'filthy sods'. 6 For all its vehemence the attack was typical rather than unique, and reflects Perec's increasing impatience, in the mid-60s, with the contamination of intellectual culture by academic fashion. In the same article as he insulted the telquelliens, Perec lampooned what Bellos calls 'the haute couture of the mind': Now on the cat-walk, the latest creation from EPHE… This daring cutaway design comes from the CNRS… The Collège de France has chosen a structuralist 1 The Prix Renaudot was set up in 1926 as an unofficial complement to the very prestigious Prix Goncourt, with the winners of both being declared on the same day in November. The jurors of the Renaudot always choose two possible winners: in the event of the Goncourt being awarded to one, the Renaudot goes to the other. In 1965, recent recipients of the Renaudot included Michel Butor (19...

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Section: Ch 36 " Homme Librementioning

confidence: 98%

Hoaxville: Reading Perec Reading Joyce

Baron¹

2015

James Joyce Quarterly

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“…People find informative value in things that are not well formed by ordinary standards. An egregious example is James Joyce's Ulysses, which many people have found meaningful even though it was not well formed by the standards of written English when Joyce wrote it and it continues to baffle readers today [39,40]. Creative writing often departs from norms about forms-and also about semantics-in order to enrich the meaning it conveys.…”

Section: What Does It Mean? How Does It Mean?mentioning

confidence: 99%

Dynamic Semiosis: Meaning, Informing, and Conforming in Constructing the Past

Thibodeau

2023

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Constructed Past Theory (CPT) is an abstract representation of how information about the past is produced and interpreted. It is grounded in the assertion that whatever we can write or say about anything in the past is the product of cognition. Understanding how information about the past is produced requires the identification and analysis of both the sources on which that information is based and the way in which the constructor approaches the task to select, analyze, and organize information to achieve the purpose for which the information was sought. CPT models this dual process, providing a basis for evaluation. It is descriptive, not prescriptive. CPT has been articulated using UML class diagrams with the objective of facilitating implementation in automated systems. This article reformulates CPT using type theory and extends its reach by applying and adapting concepts from semiotics. The results are more detailed models that facilitate differentiating what things meant to people in the past from how the constructor understands them. This article concludes with suggestions for applying CPG concepts in constructing information about the past and identifying areas where further research is needed.

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Paris Recognized:Stephen HeroandPortrait

2019

James Joyce and the Matter of Paris

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Joyces Mistakes

Cited by 6 publications

References 0 publications

Hoaxville: Reading Perec Reading Joyce

Hoaxville: Reading Perec Reading Joyce

Dynamic Semiosis: Meaning, Informing, and Conforming in Constructing the Past

Paris Recognized:Stephen HeroandPortrait

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