Patrick O'Neill – författare

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 of this perspective for narrative and for narrative theory are examined within the conceptual framework provided by classical French narratology. O'Neill ultimately attempts both to expand and to problematize the structural model of narrative proposed by this centrally important tradition of narrative theory. O'Neill describes narrative as functioning in terms of four interacting levels: story, narrative text, narration, and textuality. Using a range of examples from Homer to modern European fiction, he discusses traditional narrative categories such as voice, focalization, character, and setting, and reinscribes them within the contextual space of author and reader to bring out narrative's potential for ambiguity and unreliability. He also discusses the implications of translation for narrative theory.

Debates about Irish culture have long been plagued by neat oppositions between conquering England and colonized Erin, Protestant and Catholic, stolid Saxon and dreamy Celt. Yet the greatest Irish poets have scorned such simplicities. In this avowedly interpretative anthology of Irish verse, W.J. McCormack traces creativity of contradiction through several centuries, finding poets productively at odds with their forebears, their contemporaries--even with themselves. From Yeats's tragic laughter to the quieter ironies of Seamus Heaney, from the rambunctious narratives of Merriman and Joyce to the pathos of Wilde's Reading Gaol, the same sparring spirit is found. This exciting anthology brings together the very best in Irish poetry to reveal a broad yet sharply-focused tradition of diversity and dissidence. W.J. McCormack's compelling collection provokes a wide-ranging reconsideration of one of the world's richest literatures.

Psychotherapists have an ethical requirement to inform clients about their treatment methods, alternative treatment options, and alternative conceptions of their problem. While accepting the basis for this "informed consent" requirement, therapists have traditionally resisted giving too much information, arguing that exposure to alternative therapies could cause confusion and distress. The raging debates over false/recovered memory syndrome and the larger move towards medical disclosure have pushed the question to the fore: how much information therapists should provide to their clients?In Negotiating Consent in Psychotherapy, Patrick O'Neill provides an in-depth study of the ways in which therapists and clients negotiate consent. Based on interviews with 100 therapists and clients in the areas of eating disorders and sexual abuse, the book explores the tangle of issues that make informed consent so difficult for therapists, including what therapists believe should be part of consent and why; how they decide when consent should be renegotiated; and how clients experience this process of negotiation and renegotiation.

Psychotherapists have an ethical requirement to inform clients about their treatment methods, alternative treatment options, and alternative conceptions of their problem. While accepting the basis for this "informed consent" requirement, therapists have traditionally resisted giving too much information, arguing that exposure to alternative therapies could cause confusion and distress. The raging debates over false/recovered memory syndrome and the larger move towards medical disclosure have pushed the question to the fore: how much information therapists should provide to their clients?In Negotiating Consent in Psychotherapy, Patrick O'Neill provides an in-depth study of the ways in which therapists and clients negotiate consent. Based on interviews with 100 therapists and clients in the areas of eating disorders and sexual abuse, the book explores the tangle of issues that make informed consent so difficult for therapists, including what therapists believe should be part of consent and why; how they decide when consent should be renegotiated; and how clients experience this process of negotiation and renegotiation.

Textual play, especially onomastic play, is a central element throughout James Joyce’s writings. Onomastic Joyce examines individually, in a single alphabetical listing with multiple cross-references, each of roughly a thousand personal names, selected for their particular textual interest, in Joyce’s work up to and including Ulysses, thus also involving Dubliners and A Portrait of the Artist as a Young Man.The central focus throughout is on the multifarious games names play, or can be made to play, in Joyce’s textual universe – a universe understood here as including onomastic games Joyce certainly intended, onomastic games he may or may not have intended, and onomastic games he is very unlikely to have intended. This final category includes onomastic games occurring only in translations of Joyce’s texts in multiple languages. Joyce was fascinated throughout his life both by etymology and by the possibilities of literary translation, and sustained attention is therefore paid to the ludic implications of literary etymology, translational issues, onomastic enigmas and puzzles, and multiple humorous varieties of deliberate teasing and misdirection of the reader.The project, to be thought of as a reader’s handbook or reader’s guide to Joyce’s onomastic practice, is structured in the form of a dictionary, the alphabetical format allowing for multiple and varied cross-references.

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 first developed in his book Polyglot Joyce, but deepens his focus by considering Finnegans Wake exclusively. Venturing from Umberto Eco’s assertion that the novel is a machine designed to generate as many meanings as possible for readers, he provides a sustained examination of the textual effects generated by comparative readings of translated excerpts. In doing so, O’Neill makes manifest the ways in which attempts to translate this extraordinary text have resulted in a cumulative extension of Finnegans Wake into an even more extraordinary macrotext encompassing and subsuming its collective renderings.

Trilingual Joyce is a detailed comparative study of James Joyce’s personal involvement in both French and Italian translations of the iconic 1928 text Anna Livia Plurabelle, which later became the eighth chapter of Finnegans Wake. Considered to be completely untranslatable at the time of its publication, the translation of Anna Livia Plurabelle represented a fascinating challenge to Joyce, who collaborated in experimental renderings of the text, first into French and later into Italian. Patrick O’Neill’s Trilingual Joyce is the first comparative study of all three of the Anna Livia Plurabelle variations, and fills a long-standing gap in Joyce studies. O’Neill, an Irish-born professor who has written widely on texts in translation, also discusses in detail the avant-guard novelist and playwright Samuel Beckett’s contribution as a young man to the French rendering of Anna Livia Plurabelle.

James Joyce's astonishing final text, Finnegans Wake (1939), is universally acknowledged to be entirely untranslatable. And yet, no fewer than fifteen complete renderings of the 628-page text exist to date, in twelve different languages altogether – and at least ten further complete renderings have been announced as underway for publication in the early 2020s, in nine different languages.Finnegans Wakes delineates, for the first time in any language, the international history of these renderings and discusses the multiple issues faced by translators. The book also comments on partial and fragmentary renderings from some thirty languages altogether, including such perhaps unexpected languages as Galician, Guarani, Chinese, Korean, Turkish, and Irish, not to mention Latin and Ancient Egyptian. Excerpts from individual renderings are analysed in detail, together with brief biographical notes on numerous individual translators.Chronicling renderings spanning multiple decades, Finnegans Wakes illustrates the capacity of Joyce's final text to generate an inexhaustible multiplicity of possible meanings among the ever-increasing number of its impossible translations.

Lyrical, mysterious, and laden with symbolism, Franz Kafka’s novels and stories have been translated into more than forty languages ranging from Icelandic to Japanese. In Transforming Kafka, Patrick O’Neill approaches these texts through the method he pioneered in Polyglot Joyce and Impossible Joyce, considering the many translations of each work as a single, multilingual “macrotext.”Examining three novels – The Trial, The Castle, and America – and two short stories – “The Judgment” and “The Metamorphosis” – O’Neill offers comparative readings that consider both intertextual and intratextual themes. His innovative approach shows how comparing translations extends and expands the potential meanings of the text and reveals the subtle differences among the hundreds of translations of Kafka’s work. A sophisticated analysis of the ways in which translation shapes, rearranges, and expands our understanding of literary works, Transforming Kafka is a unique approach to reading the works of a literary giant.

The complexity of James Joyce’s Finnegans Wake ensures that it cannot be translated; rather, it can only be rewritten. These rewritings vary significantly, and the extent of their differences – both within individual target languages and across multiple languages – invites further exploration.Anna Livia Plurilingual is a study of a Joycean macrotext that provides a detailed comparative analysis of multiple translations of selected excerpts from Joyce’s iconic Anna Livia Plurabelle (1928), which was later incorporated into Finnegans Wake (1939). Patrick O’Neill examines how these translations function as independent texts rather than mere derivatives of the original, highlighting the creative and interpretative choices made by translators.While the concept of a literary macrotext could in principle encompass all reader responses, this work specifically focuses on translations, emphasizing comparative readings of the original text alongside its diverse interpretations. O’Neill’s investigation not only illuminates the intricacies of Joyce’s language and the complexities of the resulting macrotext but also offers valuable insights into the broader field of literary translation studies.

Entropic comedy is the phrase coined by Patrick O'Neill in this study to identify a particular mode of twentieth-century narrative that is not generally recognized. He describes it as the narrative expression of forms of decentred humour, or what might more loosely be called 'black humour.'O'Neill begins his investigation by examining the rise of an essentially new form of humour over the last three hundred years or so in the context of a rapid decay of confidence in traditional authoritative value systems. O'Neill analyses the resulting reorganization of the spectrum of humour, and examines th implications of this for the ways in which we read texts and the world we live in.He then turns from intellectual history to narratology and considers the relationship, in theoretical terms, of homour, play, and narrative as systems of discourse and the role of the reader as a textualizing agent.Finally, he considers some dozen twentieth-century narratives in French, German, and English (with occasional reference to other literatures) in the context of those historical and theoretical concerns. Authors of the texts analysed include Céline, Camus, Satre, and Robbe-Grillet in French; Heller, Beckett, Pynchon, Nabokov, and Joyce in English; Grass, Kafka, and Handke in German. The analyses proceed along lines suggested by structuralist, semiotic, and post-structuraist narrative and literary theory. From his analyses of these works O'Neill concludes they illustrate in narrative terms a mode of modern writing definable as entropic comedy, and he develops a taxonomy of the mode.

With a resurgence of interest inreal ale, there’s never been a better time to master how to keep, store and serve cask beer. In a fully revised and updated edition of this CAMRA classic, Patrick O’Neill explains all you need to know about running a good cellar and ensuring that the pint you serve does both pub and brewer proud.Cellarmanship is a must-have book if you are a professional or student in the drinks trade, a beer festival organiser or simply a keen amateur wishing to serve a decent pint at a private party.This fully-updated new colour edition is published in a larger format, and detachable cellar card for at-a-glance cellar tips and techniques.