Abstract
The introduction positions the “multilingual approach” to Finnegans Wake and the practice of reading in relation to the critical field. It outlines the scope of multilingualism studies and contextualises it within the particular historicity of European modernism and modernist transculturalism. The chapter discusses the cultural, theoretical, as well as practical implications of reading “multilingually” as opposed to “monolingually” (referencing Yasemin Yildiz’s concept of “the monolingual paradigm,” which has historical as well as methodological bearing on the question of the multilingual text). The chapter establishes the book's foundational theoretical framework, intersecting postcolonial, deconstructionist, cross-linguistic influence, and reader-response theory. The introduction also forms an accessible picture of Joyce’s life as a migrant polyglot, telling the story of his cultural experience as a lifelong “foreigner” during his cross-European travels, as well as a postcolonial subject in perpetual exile in his native Ireland.
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Notes
- 1.
Mark Amsler, Affective Literacies: Writing and Multilingualism in the Late Middle Ages, Late Medieval and Early Modern Studies 19 (Turnhout: Brepols, 2011), xv.
- 2.
Leonard Forster, “Fremdsprache und Muttersprache: Zum Problem der polyglotten Dichtung in Renaissance und Barock,” Neophilologus 45 (1961): 177–95.
- 3.
Leonard Forster, The Poet’s Tongues: Multilingualism in Literature (London: Cambridge University Press, 1970), xii.
- 4.
Juliette Taylor, “Foreign Music: Linguistic Estrangement and Its Textual Effects in Joyce, Beckett, Nabokov and Rushdie” (PhD diss., University of Warwick, 2003), 2.
- 5.
Letter from Harriet Shaw Weaver to James Joyce, February 4, 1927, quoted in Richard Ellmann, James Joyce, Second Edition (Oxford: Oxford University Press, 1982), 590.
- 6.
Robert H. Deming, ed., James Joyce: The Critical Heritage, Volume One: 1902–1927 (Delhi, Bombay, Bangalore, Kanpur, London: Vikas Publications, 1970), 373–76.
- 7.
See Marion Quirici, “Degeneration, Decadence, and Joyce’s Modernist Disability Aesthetics,” Joyce Studies Annual (2016): 84–109.
- 8.
Among many others, Finn Fordham, Lots of Fun at Finnegans Wake: Unravelling Universals (Oxford and New York: Oxford University Press, 2007); John Gordon, Finnegans Wake: A Plot Summary, Irish Studies (New York: Syracuse University Press, 1986); Joseph Campbell, A Skeleton Key to Finnegans Wake (New York: Viking P., 2005 [1944]); William York Tindall, Reader’s Guide to Finnegans Wake (Syracuse, NY: Syracuse University Press, 1996 [1969]).
- 9.
For example: Brendan O’Hehir, Gaelic Lexicon for Finnegans Wake and Glossary for Joyce’s Other Works (Berkeley, CA: University of California Press, 1967); Helmut Bonheim, A Lexicon of the German in “Finnegans Wake” (Los Angeles, CA: University of California Press, 1967); C. George Sandulescu, A Lexicon of Romanian in “Finnegans Wake” (Bucureşti: Contemporary Literature Press, 2011).
- 10.
Raphael Slepon, “Finnegans Wake Extensible Elucidation Treasury (FWEET),” October 19, 2013, http://fweet.org.
- 11.
The complete run of the Wake Newslitter is now available to download for free from Ian Gunn, ed., Joyce Tools, 2018, http://www.riverrun.org.uk/joycetools.html.
- 12.
Umberto Eco, Experiences in Translation, trans. Alastair McEwen (Toronto, Buffalo, London: University of Toronto Press, 2001), 108.
- 13.
Juliette Taylor-Batty, Multilingualism in Modernist Fiction (New York: Palgrave Macmillan, 2013), 117.
- 14.
This is a direct quote from an interview with the Wake’s Dutch translators, Robbert-Jan Henkes and Erik Bindervoet, but the idea is also shared by others. Arleen Ionescu, for example, quotes directly from the Wake to query how its Romanian translators could handle a text that is “however basically English” (FW 116.25) but that nonetheless features “a Hiberno-English substratum featuring a medley of languages.” I will discuss these questions in more detail and show further examples in Chap. 4 in the context of the Wake’s Russian translations, which I will position in dialogue with several other translation projects in other languages. The current quote is derived from Katarzyna Bazarnik, Erik Bindervoet, and Robbert-Jan Henkes, “Hier Komt Iedereen: An Interview with Erik Bindervoet and Robbert Jan-Henkes, the Dutchifiers of Finnegans Wake” (Journal article manuscript, courtesy of Robbert-Jan Henkes and Erik Bindervoet, Warsaw, Poland, 2004), 6. See also Arleen Ionescu, “From Translation to Re-Creation: The Cases of Ulysses and Finnegans Wake in Romanian,” Joyce Studies Annual (2014): 204.
- 15.
Leo Knuth, “The Finnegans Wake Translation Panel at Trieste,” James Joyce Quarterly 9 (1972): 268, http://www.jstor.org/stable/25486975.
- 16.
Margot Norris, The Decentered Universe of “Finnegans Wake”: A Structuralist Analysis (Baltimore and London: Johns Hopkins University Press, 1976), 126, http://digital.library.wisc.edu/1711.dl/JoyceColl.NorrisDecenter.
- 17.
John Bishop, Joyce’s Book of the Dark, “Finnegans Wake” (Madison, Wisconsin: University of Wisconsin Press, 1986), 4.
- 18.
Patrick O’Neill, Polyglot Joyce: Fictions of Translation (Toronto and Buffalo: University of Toronto Press, 2005), 4.
- 19.
Ellmann, James Joyce, 50–51; Herbert Gorman, James Joyce: A Definitive Biography (London: The Bodley Head, 1941), 45–46. See also: Jolanta Wawrzycka, “Translation,” in James Joyce in Context, ed. John McCourt (New York: Cambridge University Press, 2009), 126–27.
- 20.
James Joyce, The Critical Writings of James Joyce, ed. Richard Ellmann and Ellsworth Mason (Ithaca, New York: Cornell University Press, 1989), 27, 28, 29–30.
- 21.
James A. Joyce, “Ibsen’s New Drama,” Fortnightly Review, April 1, 1900. See also: Ellmann, James Joyce, 73–74.
- 22.
Letter from William Archer to James Joyce, April 23, 1900. In James Joyce, Letters II, ed. Richard Ellmann, 2nd ed., vol. 2 (New York: The Viking Press, 1966), 7.
- 23.
Letter from Jas A. Joyce to William Archer, April 28, 1900. In Joyce, Letters II, 7.
- 24.
See letter from James Joyce to Henrik Ibsen, March 1901. In James Joyce, Letters I, ed. Stuart Gilbert, 2nd ed., vol. 1 (New York: The Viking Press, 1966), 51. See also: Gorman, James Joyce: A Definitive Biography, 69–71.
- 25.
In fact, Joyce’s first departure from Dublin was on December 1, 1902, when he left for Paris to continue his medical studies there (109). He would return for a month’s holiday between December 23, 1902 and January 17, 1903 (118–19), depart for Paris again, return following news of his mother’s fatal illness in April 1903 (128), and finally leave again for Paris and eventually Trieste with Nora in 1904 (179–94). He would periodically visit Dublin between then and 1912, but after this last visit he would leave Ireland, in a huff, for good (322–35). References from Ellmann, James Joyce.
- 26.
Declan Kiberd, “James Joyce and Mythic Realism,” in Inventing Ireland: The Literature of the Modern Nation (London: Vintage, 1996), 327–55; Declan Kiberd, Ulysses and Us: The Art of Everyday Living (London: Faber and Faber, 2010); Emer Nolan, James Joyce and Nationalism (London and New York: Routledge, 1995); Seamus Deane, “Imperialism/Nationalism,” in Critical Terms for Literary Study, ed. Frank Lentricchia and Thomas McLaughlin (Chicago: University of Chicago Press, 1995), 354–68.
- 27.
Ellmann, James Joyce, 55–56, 533.
- 28.
Taylor-Batty, Multilingualism in Modernist Fiction, 114.
- 29.
Taylor-Batty, Multilingualism in Modernist Fiction, 117.
- 30.
Barry McCrea, Languages of the Night: Minor Languages and the Literary Imagination in Twentieth-Century Ireland and Europe (New Haven and London: Yale University Press, 2015), 22.
- 31.
McCrea, Languages of the Night, xiv.
- 32.
Eva Hoffman, “The New Nomads,” in Letters of Transit: Reflections on Exile, Identity, Language, and Loss, ed. Andre Aciman (New York: New Press with the New York State Library, 1999), 52.
- 33.
James Joyce, A Portrait of the Artist as a Young Man (London: Penguin Books, 2003), 52.
- 34.
Joyce, Portrait, 205.
- 35.
Kiberd, “James Joyce and Mythic Realism,” in Inventing Ireland (London: Vintage Books, 1996), 332.
- 36.
Letters II, 48.
- 37.
Mikhail M. Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), 12.
- 38.
Joyce, Portrait, 193.
- 39.
Rosa Maria Bollettieri Bosinelli, “Transcreative Joyce,” Scientia Traductionis, no. 8 (2010): 191–92.
- 40.
Taylor-Batty, Multilingualism in Modernist Fiction, 114.
- 41.
Philippe Sollers, “Joyce & Co.,” in In the Wake of the “Wake”, ed. David Hayman and Elliott Anderson (Madison, Wis: University of Wisconsin Press, 1978), 108, 110.
- 42.
Nolan, James Joyce and Nationalism, 144–45, 141.
- 43.
Deane, “Imperialism/Nationalism,” 366.
- 44.
Consider, for example, the Wakean portmanteau “Amensch” (397.23): it puns on the English “amen” and the German “Mensch” (person) and “Mädchen” (girl), while also tying in the meaning of “mensch” as a foreignism in English (derived from Yiddish), signifying a person of integrity and moral respectability.
- 45.
For example, “Hogmanny di’yegut? Hogmanny di’yesmellygut? And hogmanny d’yesmellyspatterygut?” (FW 455.9–11) visually and phonologically gestures towards “How many d’ye got? How many d’ye smelly got/gut? And how many d’ye smelly, spattery gut?” It simultaneously carries a phonological reference to the Irish greeting/farewell/blessing: “Go mbeannuighe Dia dhuit” (May God bless you), “Go mbeannuighe Dia’s Muire dhuit” (May God and Mary bless you), and “Go mbeannuighe Dia’s Muire’s Pádraig dhuit” (May God and Mary and Patrick bless you). See Roland McHugh, Annotations to “Finnegans Wake,” Third Edition (Baltimore: Johns Hopkins University Press, 2006), 455.10–11.
- 46.
For the authors’ respective definitions of these terms, see: Michael Holquist, Introduction to Bakhtin, Dialogic Imagination, xix; Steven G. Kellman, The Translingual Imagination (Lincoln: University of Nebraska Press, 2000), ix; Elizabeth Klosty Beaujour, Alien Tongues: Bilingual Russian Writers of the “First” Generation (Ithaca and London: Cornell University Press, 1989); Rainer Grutman, Des Langues Qui Résonnent. L’hétérolinguisme Au Xixe Siècle Québécois (Montréal: Fides, 1997); Reine Meylaerts, “Heterolingualism and/in Translation: How Legitimate Are the Other and His/Her Language? An Introduction,” Target: International Journal of Translation Studies, Heterolingualism and/in Translation 18, no. 1 (2006): 4.
- 47.
Yasemin Yildiz, Beyond the Mother Tongue: The Postmonolingual Condition (New York: Fordham University Press, 2012), 4.
- 48.
David Gramling, The Invention of Monolingualism (New York and London: Bloomsbury Academic, 2016).
- 49.
See the editor’s note in Mikhail M. Bakhtin, Voprosy Literatury i Estetiki: Izsledovanii͡a Raznykh Let, ed. S. Leĭbovich (Moskva: Khudozhestvennai͡a literatura, 1975).
- 50.
Forster, The Poet’s Tongues, 2.
- 51.
Werner Sollors, ed., Multilingual America: Transnationalism, Ethnicity, and the Languages of American Literature (New York: New York University Press, 1998).
- 52.
Steven G. Kellman, The Translingual Imagination (Lincoln: University of Nebraska Press, 2000).
- 53.
Kellman, The Translingual Imagination, ix.
- 54.
A brief note on my use of pronouns: As part of this book’s concern with ethical diversity (linguistic, cultural, identificatory, bodily, etc.) and intersectionality, I have chosen to interchangeably use masculine (he/his/him/himself), feminine (she/her/herself), bigender (s/he), and gender-neutral (they/their/themself) pronouns to refer to the reader. This is part of an effort to allow my own critical language to perform the ethical considerations of which I write in relation to the project’s subject matter: multilingualism and encounters with difference. I would invite my reader to treat these types of pronoun usages as non-definitive. That is to say, if a figure such as the Wake reader (when “the reader” represents a broadly encompassing body of readership) is referred to as a “she,” my reader may view the feminine pronoun as an invocation of the he’s, ze’s, they’s, or xe’s of readership as well.
- 55.
Hélène Cixous, “The Author in Truth,” in “Coming to Writing” and Other Essays, ed. Deborah Jenson (Cambridge, MA: Harvard University Press, 1991), 161.
- 56.
Gramling, The Invention of Monolingualism, 2–3.
- 57.
Yildiz, Beyond the Mother Tongue, 2.
- 58.
For an overview of this emerging climate in Translation Studies, which particularly began to gain traction in the late 1990s, see Meylaerts, “Heterolingualism and/in Translation.”
- 59.
Yildiz, Beyond the Mother Tongue, 9. This estimation is confirmed by Francophone translation scholars such as Reine Meylaerts and, earlier, Rainier Grutman. David Gramling, in The Invention of Monolingualism, traces its origins even earlier, in the sixteenth and seventeenth centuries, that is, immediately preceding the European Enlightenment. See Meylaerts, “Heterolingualism and/in Translation”; Grutman, Des Langues Qui Résonnent. L’hétérolinguisme Au Xixe Siècle Québécois; Gramling, The Invention of Monolingualism.
- 60.
Yildiz, Beyond the Mother Tongue, 9.
- 61.
Forster, The Poet’s Tongues, 3.
- 62.
Mikhail M. Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981).
- 63.
It is worth noting that, although Voprosy literatury i estetiki was first published in 1975, the essays themselves were written prior to that, between the 1920s and 1930s. Nonetheless, the essays’ publication history is far more recent: Bakhtin’s “Problema soderzhanii͡a, materiala i formy v slovesnom khudozhestvennom tvorchestve” (Problems of Content, Material, and Form in the Literary Arts) was written in 1924 for the journal Russkiĭ sovremennik, which was closed down soon afterwards, leaving Bakhtin’s piece unpublished until the early 1970s (in the Institute of World Literature of the USSR Science Academy publication Kontekst in 1973, and again in Nauka in 1974). “Slovo v romane” (Language in the Novel) was a large study written in 1934–35. Two chapters of it were first published in the journal Voprosakh literatury in 1972. Bakhtin also delivered a lecture deriving from this work for the Institute of World Literature of the USSR Science Academy on October 14, 1940, which was subsequently published in the form of two articles in Voprosakh literatury (1965) and in Russkai͡a i zarubezhnai͡a literatura (1967). On March 24, 1941, Bakhtin delivered another lecture, entitled “Roman kak literaturnyĭ zhanr” (The Novel as Literary Discourse), and this was first published in Voprosakh literatury in 1970 with the title “Epos i roman” (Epic and Novel). “Formy vremeni i khronotopa v romane” (Forms of Time and the Chronotope in the Novel) was written in 1937–38 but Bakhtin prepared it for publication only in 1973, when he accompanied the work with a note entitled “Zakli͡uchitel’nye zamechanii͡a” (Concluding Remarks). A fragment from Formy vremeni was published in Voprosakh literatury in 1974. See the editor’s note in Bakhtin, Voprosy Literatury i Estetiki: Izsledovanii͡a Raznykh Let.
- 64.
Bakhtin, The Dialogic Imagination, 295–96.
- 65.
It is worth noting that the translators of The Dialogic Imagination may have been familiar with Forster’s work, which could explain the coincidence in diction between these excerpts. However, the theoretical concepts are clearly identical nonetheless, and that similarity cannot be attributed to any direct influence, as neither Forster nor Bakhtin could have read each other’s work at this time. A further apparently subliminal coincidence was Henri Gobard’s development of his “tetraglossic” framework of linguistic functionality in L’Aliénation linguistique: Analyse tétraglossique (Paris: Flammarion, 1976), which has strong resonances with Bakhtin’s and Forster’s notions of universal polyglottism. For more on Gobard’s framework, see John Johnston, “Translation as Simulacrum,” in Rethinking Translation: Discourse, Subjectivity, Ideology, ed. Lawrence Venuti (London and New York: Routledge, 1992), 52–53.
- 66.
Elizabeth Klosty Beaujour, Alien Tongues: Bilingual Russian Writers of the “First” Generation (Ithaca and London: Cornell University Press, 1989), 2.
- 67.
Klosty Beaujour, Alien Tongues, 3.
- 68.
Klosty Beaujour, Alien Tongues, 14.
- 69.
Klosty Beaujour, Alien Tongues, 16.
- 70.
Steven G. Kellman, ed., Switching Languages: Translingual Writers Reflect on Their Craft (Lincoln: University of Nebraska Press, 2003); Kellman, The Translingual Imagination.
- 71.
Andreï Makine, Le testament français (Dreams of My Russian Summers), trans. Geoffrey Strachan (London: Sceptre, 2007), 250.
- 72.
Speak, Memory was originally published as a single volume in 1951 and revised through to 1966. For a detailed overview of the memoir’s publishing and translation history, see the author’s foreword to Vladimir Nabokov, Speak, Memory (London: Penguin, 2000).
- 73.
Nabokov, Speak, Memory, 53.
- 74.
Vladimir Nabokov, “On a Book Entitled Lolita,” in Lolita (London: Penguin Books, 2000), 316.
- 75.
Letter from Edmund Wilson to Vladimir Nabokov, October 20, 1941, Wellfleet, Mass. in Vladimir Nabokov and Edmund Wilson, Dear Bunny, Dear Volodya: The Nabokov-Wilson Letters, 1940–1971, ed. Simon Karlinsky (Berkeley: University of California Press, 2001), 56.
- 76.
Hélène Cixous, “Coming to Writing,” in “Coming to Writing” and Other Essays, ed. Deborah Jenson, trans. Sarah Cornell et al. (Cambridge, MA: Harvard University Press, 1991), 12–13.
- 77.
Joyce, Portrait, 205.
- 78.
In 1968, Cixous completed her doctoral dissertation, L’Exil de James Joyce ou l’Art du remplacement, which was published in French in 1972 and translated into English by Sally A. J. Purcell as The Exile of James Joyce, or the Art of Displacement in 1976. See Hélène Cixous, The Exile of James Joyce, or the Art of Displacement, trans. Sally A. J. Purcell (London: John Calder Publishers, 1976).
- 79.
bell hooks, “Theory as Liberatory Practice,” in Teaching to Transgress: Education as the Practice of Freedom (New York: Routledge, 1994), 61.
- 80.
Steven G. Kellman’s Switching Languages and Andre Aciman’s Letters of Transit: Reflections on Exile, Identity, Language, and Loss (New York: New Press with the New York State Library, 1999), for example, offer an abundant selection of testimonials by multilingual writers remembering, historicising, and theorising exile and migration as a political, literary, and deeply personal experience. These edited collections offer a useful starting point for any reader interested in multilingual literature. Nabokov’s reflections on the integrality of multilingualism in his craft in both English and Russian also culminate in his autobiography Speak, Memory (London: Penguin, 2000).
- 81.
Sara Ahmed et al., “Introduction,” in Uprootings/regroundings Questions of Home and Migration (New York: Berg Publishers, 2003), 11.
- 82.
Eva Hoffman, “The New Nomads,” in Letters of Transit: Reflections on Exile, Identity, Language, and Loss, ed. Andre Aciman (New York: New Press with the New York State Library, 1999), 48; also cited in Sneja Gunew, “The Home of Language: A Pedagogy of the Stammer,” in Uprootings/regroundings Questions of Home and Migration, ed. Sara Ahmed et al. (New York: Berg Publishers, 2003), 46.
- 83.
The author questions whether it “make[s] sense to locate the first subject in language in the pre-symbolic which Kristeva, for example, characterizes as the domain of the semiotic and maternal”; or whether “to refer to a ‘first’ symbolic order and to relocate it in the Lacanian Imaginary where the subject experiences illusory totality with a phallic mother.” Gunew, “The Home of Language,” 46.
- 84.
Gunew, “The Home of Language,” 42.
- 85.
Margrit Shildrick, “You Are There Like My Skin: Reconfiguring Relational Economies,” in Thinking through the Skin, ed. Sara Ahmed and Jackie Stacey, Transformations (New York and London: Routledge, 2001), 163.
- 86.
To put it in the famous words of Stephen Dedalus : “—Bosh! Stephen said rudely. A man of genius makes no mistakes. His errors are volitional and are portals of discovery.” James Joyce, Ulysses, ed. Hans Walter Gabler, Wolfhard Steppe, and Claus Melchior (London: Bodley Head, 1993), 156.228–29.
- 87.
Stephen Greenblatt, “Racial Memory and Literary History,” PMLA 116, no. 1 (January 2001): 62; my emphasis.
- 88.
In the conclusion (Chap. 6), I return to this question through my conceptualisation of “multilingual homecoming.”
- 89.
- 90.
Hoffman, “The New Nomads,” 52.
- 91.
Hoffman, “The New Nomads,” 46.
- 92.
Hoffman, “The New Nomads,” 47.
- 93.
Hoffman, “The New Nomads,” 48.
- 94.
Hoffman, “The New Nomads,” 50, 56.
- 95.
Hoffman, “The New Nomads,” 63.
- 96.
Derek Attridge, Joyce Effects: On Language, Theory and History (Cambridge: Cambridge University Press, 2004), 118.
- 97.
Attridge, Joyce Effects, 118.
- 98.
Derek Attridge, The Singularity of Literature (London: Routledge, 2004), 22.
- 99.
Bakhtin, Dialogic Imagination, 12.
- 100.
Mikhail M. Bakhtin, “Epic and Novel: Toward a Methodology for the Study of the Novel,” in The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Michael Holquist and Caryl Emerson Holquist (Austin: University of Texas Press, 1981), 11.
- 101.
Bakhtin, Dialogic Imagination, 12.
- 102.
Attridge, The Singularity of Literature, 59.
- 103.
Attridge, The Singularity of Literature, 81; my emphasis.
- 104.
Juliette Taylor-Batty, “Protean Mutations: James Joyce’s Ulysses,” in Multilingualism in Modernist Fiction (Palgrave Macmillan, 2013), 134.
- 105.
Taylor-Batty, Multilingualism in Modernist Fiction, 144.
- 106.
Ibid.
- 107.
Joycean multilingualism has, of course, been consistently addressed in Joyce scholarship as it is an unavoidable aspect of his works. However, the existing studies have not ventured to develop designated multilingual frameworks of engagement with the texts quite in the way that Taylor-Batty has done, or in the way that I aim to achieve in my intervention. Nonetheless, students of Joycean multilingualism would find the following reference list essential reading: Fritz Senn, Joyce’s Dislocutions, ed. Jean Paul Riquelme (Baltimore and London: Johns Hopkins University Press, 1984); Adam Piette, Remembering and the Sound of Words: Mallarmé, Proust, Joyce, Beckett (Oxford: New York: Clarendon Press; Oxford University Press, 1996); Barry McCrea, Languages of the Night: Minor Languages and the Literary Imagination in Twentieth-Century Ireland and Europe (New Haven and London: Yale University Press, 2015); Steven G. Yao, “‘Transluding from the Otherman’: Translation and the Language of Finnegans Wake,” in Translation and the Languages of Modernism: Gender, Politics, Language (New York: Palgrave, 2002), 191–208; Kimberly J. Devlin and Christine Smedley, eds., Joyce’s Allmaziful Plurabilities: Polyvocal Explorations of Finnegans Wake, Florida James Joyce Series (Gainesville: University Press of Florida, 2015); Laurent Milesi, ed., James Joyce and the Difference of Language (Cambridge and New York: Cambridge University Press, 2003).
- 108.
Taylor, “Foreign Music: Linguistic Estrangement and Its Textual Effects in Joyce, Beckett, Nabokov and Rushdie,” 53–54.
- 109.
For detailed analyses of the relationship between multilingual writing, travel, and migration in the modernist period, see Juliette Taylor-Batty, “Modernism and Babel,” in Multilingualism in Modernist Fiction (New York: Palgrave Macmillan, 2013), 16–38; Bridget T. Chalk, Modernism and Mobility: The Passport and Cosmopolitan Experience, First edition (New York: Palgrave Macmillan, 2014).
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Alexandrova, B. (2020). Introduction. In: Joyce, Multilingualism, and the Ethics of Reading. Palgrave Studies in Modern European Literature. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-36279-9_1
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