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Joyce's and Borges's Afterlives of Shakespeare

Joyce's and Borges's Afterlives of Shakespeare COMPARATIVE LITERATURE / 208 only within Western and Oriental discourses alike, but also within the specific category of the fantastic that the editors, Borges, Bioy Casares, and Ocampo, were actively seeking to promote. In this context, it is important to recognize that in the cultural arena of Argentina in the early 1940s James Joyce’s Ulysses remained the exclusive property of a cultured circle of Anglophone speakers and a French-speaking intellectual elite who had access to the influential 1929 French translation by Auguste Morel, Stuart Gilbert, and Valery Larbaud, with the collaboration of Joyce himself. (Ulysses was not translated into Spanish until 1945, more than two decades after its publication in Paris in February 1922.) Therefore, Joyce’s appearance in the anthology would have been credited either to the cultural eccentricity and polyglot abilities of the editors or, more likely, to Borges’s unique acquaintance with his work from his avant-garde days.1 Yet, together with other fragmentary translations that appeared in several Spanish periodicals throughout the 1920s (see Santa Cecilia 16–98), Borges’s rendering of the last two pages of “Penelope,” as well as his careful reinvention of two fragments of Ulysses (from “Scylla and Charybdis” and “Circe”) as fantastic short stories, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Joyce's and Borges's Afterlives of Shakespeare

NOVILLO-CORVALAN, PATRICIA
Comparative Literature , Volume 60 (3) – Jan 1, 2008
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Publisher
Duke University Press
Copyright
Copyright 2008 by University of Oregon
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/-60-3-207
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Abstract

COMPARATIVE LITERATURE / 208 only within Western and Oriental discourses alike, but also within the specific category of the fantastic that the editors, Borges, Bioy Casares, and Ocampo, were actively seeking to promote. In this context, it is important to recognize that in the cultural arena of Argentina in the early 1940s James Joyce’s Ulysses remained the exclusive property of a cultured circle of Anglophone speakers and a French-speaking intellectual elite who had access to the influential 1929 French translation by Auguste Morel, Stuart Gilbert, and Valery Larbaud, with the collaboration of Joyce himself. (Ulysses was not translated into Spanish until 1945, more than two decades after its publication in Paris in February 1922.) Therefore, Joyce’s appearance in the anthology would have been credited either to the cultural eccentricity and polyglot abilities of the editors or, more likely, to Borges’s unique acquaintance with his work from his avant-garde days.1 Yet, together with other fragmentary translations that appeared in several Spanish periodicals throughout the 1920s (see Santa Cecilia 16–98), Borges’s rendering of the last two pages of “Penelope,” as well as his careful reinvention of two fragments of Ulysses (from “Scylla and Charybdis” and “Circe”) as fantastic short stories,

Journal

Comparative Literature – Duke University Press

Published: Jan 1, 2008

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