Notice bibliographique
Résumé
The Haunted InkbottleJames Joyce and the Art of Robert Amos Robert Amos (bio) Click for larger view View full resolution "No, so holp me Petault, it is not a miseffectual whyacinthinous riot of blots and blurs and bars and balls and hoops and wriggles and juxtaposed jottings linked by spurts of speed: it only looks as like it as damn it; and, sure, we ought really to rest thankful that at this deleteful hour of dungflies dawning we have even a written on with dried ink scrap of paper at all to show for ourselves, tare it or leaf it" (FW 118). The James Joyce Quarterly has kindly allowed me space to introduce my "written on with dried ink scrap of paper." I am an artist and author who lives in Victoria, British Columbia, a little city on a rather large island off the West Coast of Canada. I discovered James Joyce in 1970, but it was many years before I began to make sense of Ulysses. Later, discovering that silent reading of Finnegans Wake brought only confusion and frustration, I spent six years making an audio recording of the book. Four hours of my complete version have been posted at Derek Pyle's <waywordsandmeansigns.com>. To better understand the text I was reading, as I proceeded I wrote out the Wake in its entirety—in my "short lines" format—with a fountain pen. While this was going on, I began to incorporate selections of Joyce's words into my art practice. Some of the results can be seen on the following pages. More of my art works in many media can be found at robertamos.com. [End Page 175] Click for larger view View full resolution For many years I have drawn inspiration from Chinese and Japanese art. I learned that words written using a brush and ink are a form of expression which at once reveals the power of the text and the character of the person who wrote it. This form of calligraphy proved to be a wonderful way for me to get close to Joyce. As he said, "who in hallhagal wrote the durn thing anyhow?" (FW 107). [End Page 176] Click for larger view View full resolution As part of my painting practice, I am always on the lookout for subject matter, and my literary studies offer a rich vein of material. I was inspired to try to breathe life into the photos of Joyce and his family by making portraits of them using acrylic paint on mahogany plywood panels. It seemed to me, as I considered every aspect of Joyce's appearance, that he was speaking to me. So I included some of his words in my pictures. In this painting, the last words of Finnegans Wake merge with the first words and flow through Joyce's brain—in one ear and out the other. [End Page 177] Click for larger view View full resolution "How bootifull and how truetowife of her" (FW 111) Joyce's wife Nora didn't have much to say about literature, but she certainly had a place in everything her husband wrote. Her penetrating look gave me a lot to think about. This painting, which is twelve by sixteen inches, has been described by a thoughful observer as showing "a pensive, world-weary Nora." [End Page 178] Click for larger view View full resolution I have always felt that my ink paintings and the inscriptions which I have written on Chinese paper should not be framed behind glass but mounted as hanging scrolls. Fortunately friends in China and Taiwan came to my assistance, and one hundred of these paintings were mounted there in the traditional manner using silk with rosewood rollers. The scrolls are easy to store in their rolled-up form, and, in many cases, this format has lent itself to the longer inscriptions from Finnegans Wake which I'm fond of copying. [End Page 179] Click for larger view View full resolution The folded book is another Chinese format I have used, and it is appropriate for longer quotations. The book has a cinematic sense which leads the reader onward from one page to the next...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».