The article explores challenges posed by intertextuality in translating James Joyce’s Ulysses. It focuses on references to Shakespeare to highlight the complexity of woes faced not only by the translators of Shakespeare but also by translators of Joyce who face Shakespearean intertextuality in Ulysses. The author selects three examples of Joyce’s Shakespearean borrowings from Hamlet, Othello, and Henry IV in French, Italian, and Polish translations of Ulysses, with a passing comment on an example from the Spanish Ulises, to show a wide range of solutions in target languages. The article concludes by suggesting that translators of Joyce must address intertextuality in Ulysses in order to fully capture the nuances of Joyce’s writing.

This article examines how theatrical adaptations of James Joyce’s novels, Ulysses and Finnegans Wake, during the 1970s became integral to the avant-garde movement in Poland. Other adaptations would evolve in the post-transition period from the 1990s to the present day, which not only explored the themes presented in Joyce’s works but also hinted at the universality of personal crises, national grievances, and the yearning for a sense of home and homeland.

The purpose of the paper is to examine Finnegans Make, Zenkasi Theatre Company’s adaptation of Joyce’s prose devised and directed by Zenon Fajfer and Katarzyna Bazarnik, staged in the 1990s. It aims to demonstrate how by employing avant-garde compositional ideas and language games, they translate the structural and linguistic complexity characteristic of the Irish author to the idiom of the stage. demonstrate the thematic coherence of Joyce’s work, accompanied by compositional and. It analyses in detail the play’s circular structure that draws on excerpts from Dubliners, A Portrait of the Artist, Ulysses and Finnegans Wake. It also discusses how Fajfer and Bazarnik engage the audience and explore the theatre space. Finally, it examines how they use the space of the book and typographical devices to translate the live performance into a spatialised score of the play.

In the summer of 1912, James Joyce spent several weeks in Galway, visiting Nora Barnacle’s family and writing essays for Il Piccolo della Sera. Two essays produced during his stay in the West of Ireland are directly concerned with the region and its inhabitants: one describes the past and present of Galway city and the other is an account of his trip to Aranmor, the biggest Aran Island off the west coast of Galway. Joyce’s selective focus on the past glories of those places and utopian vistas connected with the development of the Galway Harbour is interesting as a counterpoint to the notion of the West of Ireland, shared by representatives of the Anglo-Irish Revival who saw a relatively homogeneous repository of traditional Celtic values in the region. Joyce’s journalistic representation of Galway and Aran deserves attention also because it anticipates late twentieth-century emphasis on hybridity, miscegenation and transcultural mobility. Finally, Joyce’s two 1912 essays are a significant reflection of his own fluctuating attitudes to Ireland and its history, at a point when he was gradually abandoning his epideictic rhetoric of “Ireland, Island of Saints and Sages” to embrace a more cosmopolitan view of the West of Ireland as a milieu shaped by various European influences.

In “A mobility of illusory forms immobilized in space.” James Joyce and the Pre-Einsteinian Universe James Joyce’s Ulysses is discussed as an ironic farewell to the pre-Einsteinian worldview. This paper aims at examining the “world picture” Joyce is sketching by reconstructing and juxtaposing the models of the Universe that his characters, Stephen and Bloom imagine. Joyce’s protagonists need to conceptualize the Universe; they crave to be able to mentally grasp every facet of external reality and the human place in it. The two protagonists in two diverse ways ‒ the “scientific” and the “artistic” ‒ visualize the earth among the stars and try to understand the nature of time. The pre-Einsteinian “scientific” way of Bloom fails him. Stephen is also accustomed to pre-Einsteinian physics but thanks to his “artistic” temperament he is able to add to his divagations an element of creative speculation.