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James Joyce's Finnegans Wake has repeatedly been declared to be entirely untranslatable. Nonetheless, it has been translated, transposed, or transcreated into a surprising variety of languages - including complete renditions in French, German, Portuguese, Dutch, Japanese, and Korean, and partial renditions in Italian, Spanish, and a variety of other languages. Impossible Joyce explores the fascinating range of different approaches adopted by translators in coming to grips with Joyce's astonishing literary text.

In this study, Patrick O'Neill builds on an approach...

Because German literary criticism tends to be strongly historicist in character, modern and postmodern German narrative has remained relatively unexplored by poststructuralist critics. In the eight individual analyses of twentieth-century German texts that make up this book, Patrick O'Neill deviates from the theoretical mainstream. O'Neill applies the principles of structuralist and poststructuralist narratology to a selection of narratives from both modernist and postmodernist German authors: Mann, Kafka, and Hesse, and Canetti, Grass, Johnson, Handke, and Bernhard.

O'Neill's...

James Joyce's writings have been translated hundreds of times into dozens of different languages. Given the multitude of interpretive possibilities within these translations, Patrick O'Neill argues that the entire corpus of translations of Joyce's work - indeed, of any author's - can be regarded as a single and coherent object of study.Polyglot Joyce demonstrates that all the translations of a work, both in a given language and in all languages, can be considered and approached as a single polyglot macrotext.

To respond to, and usefully deconstruct, a macrotext of this kind...

The fundamental principle upon which contemporary narratology is constructed is that narrative is an essentially divided endeavour, involving the story (what really happened') and the discourse (how what happened is presented'). For traditional criticism, the primary task of narrative discourse is essentially to convey the story as transparently as possible. Patrick O'Neill investigates the extent to which narrative discourse also contains the counter-tendency not to tell the story, indeed to subvert the story it tells in foregrounding its own performance.

The systemic implications...