| HJS |
| volume 5, issue 2, 2004-5 |
| NOTES 1 Her address was delivered at the conference on "Joyce and Modern Culture" at Brown University on June 15, 1995. It expands on ideas suggested in her Advertising Fictions: Literature, Advertisement, and Social Reading (New York: Columbia University Press, 1988), especially p. 168. 2 Alfred Paul Berger, "Wakeful Ad-Venture," James Joyce Quarterly, 7 (Fall 1969), pp.52-60. 3 See "Afric Anna: Joyce's Multiracial Heroine," Chapter 4 in my Joyce's Making Women: An Introduction to Finnegans Wake (Madison: Univ. of Wisconsin Press, 1995). 4 Williams, Problems in Materialism and Culture (London: Verso, 1980), pp. 40-45. 5 McHugh, Annotations to Finnegans Wake, Revised Ed. (Baltimore: Johns Hopkins Univ. Press, 1991), p. 179. 6 Thomas "Fats" Waller, Fats Waller and his Rhythm, 1934-1935. (RCA Vintage double 1p.) 7 Jacques Lacan and Wladimir Granoff, "Fetishism: The Symbolic, the Imaginary and the Real," Perversions: Psychodynamics and Therapy, ed. Sandor Lorand with Michael Balint (New York: Random House, 1956), p. 269. 8 In fact, his "queque," or the line for his performance, is also his "peepee" because of the P/Q or P/K split. In the history of the Indo-European languages, there was a shift in which words that had begun with p ended up starting with q or a k sound. Thus Greek pente turned into Latin quinque, and this shift is especially marked in the Irish language. Joyce plays with it in the Wake by switching initial p's and q's a lot. See Brendan O Hehir, A Gaelic Lexicon for Finnegans Wake (Berkeley: Univ. of California Press, 1967), pp. 403-05. 9 Sigmund Freud, Introductory Lectures on Psychoanalysis, The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. and ed., Alix Strachey et al., Vol. 16 (London: Hogarth Press, 1963), p. 376. 10 Walter W. Skeat, A Concise Etymological Dictionary of the English Language (New York: Harper and Bros., 1882) 11 Jacques Lacan, Écrits: A Selection, trans., Alan Sheridan (New York: W.W. Norton, 1977), p. 305 12 For some definitions of Lacan's concept of the Other, see Anika Lemaire, Jacques Lacan, trans. David Macey (London: Routledge & Kegan Paul, 1977), p. 157 13 For a summary of the psychoanalytic theory of perversion, see Franz Alexander, "A Note to the Theory of Perversions," in Perversions, Psychodynamics and Therapy, pp. 3-15. 14 Michel Foucault, The History of Sexuality: An Introduction, Vol. 1, trans., Robert Hurley (New York: Vintage, 1990), p. 154 15 It was Joseph Campbell and Henry Morton Robinson who first pointed out that Shem's ad parallels Bloom's interests in Ulysses. See their Skeleton Key to Finnegans Wake (New York: Viking Press, 1961), p. 127n9. 16 Freud, "Fetishism" Standard Edition, Vol 21 (1961), pp. 148-158. 17 In "The Everlasting Gospel" William Blake argued that Jesus, being spiritually vital, disobeyed all ten commands. See The Poetry and Prose of William Blake, ed. David V. Erdman (Garden City: Doubleday, 1970), pp. 510-516. 18 Leonard, "Power, Pornography, and the Problem of Pleasure: The Semeiotics of Desire...," James Joyce Quarterly, 30-31 (Summer/Fall 1993), pp. 618, 627, 646. 19 Brivic, Joyce between Freud and Jung (Port Washington, NY: Kennikat Press, 1980), p. 67. 20 Zizek, The Sublime Object of Ideology (London: Verso, 1989), p. 17. 21 Blake, Poetry and Prose, p. 170. 22 Freud, "Psychopatic Characters on the Stage," Standard Edition, Vol. 7 (1960), p. 306. 23 The standard analysis of Joyce as a revolutionary masochist is Frances Restuccia, Joyce and the Law of the Father (New Have: Yale Univ. Press, 1989). 24 Brivic, "Reality as Fetish: The Crime in Finnegans Wake," James Joyce Quarterly 34.4 (Summer 1997), pp. 449-60. |
| SHELDON BRIVIC JOYCE'S REVERSE ADVERTISEMENT FOR HIMSELF IN FINNEGANS WAKE |