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The language of the Ulysses


Ulysses, published in 1922, was translated into multiple languages, and was called to be one of the hardest books to translate. Several translators called it an "untranslatable" book, a "horror" to translate, and wrote about its "unretranslatability".

Zlatko Gorjan, the translator of the book into Croatian, said: "I do not  believe  that  a  truly  adequate  translation  is  possible.  And   I   fail  to  understand  why  writers  and  critics  —  and  the  reading  public,  too —  argue  so much about  the idea  of an  absolutely  faithful  translation.  Both  the  poet  and   the  translator  are  very  much  aware  of  this  fact:  translators  can  strive  to  come  as  close  to  the  original  as  possible'  but  they  never  can  or  will  achieve  complete  identity  in  their  translations. —"On  Translating  Joyce's Ulysses", Zlatko Gorjan, 1971"

In 1940, only four translations were made: French, German, Czech and Japanese. Joyce was always interested in translations, and "felt extremely 'delighted' to read translations of Ulysses in other languages".

Joyce's language is non-standard and multilingual; he uses words from many other languages but English, that was called by one translator "the 'fearful jumble' of dialectal versions, cant, and pidgins". Joyces English is "both defamiliarized and foreignized through the introduction of a wealth of foreign terms and idioms, its diachronic and synchronic expanse navigated". Joyce used Irish English and Hiberno English, Yiddish, and Hebrew words and phrases.

One of the most convoluted chapters of the book is "Oxen of the Sun": One of the most notoriously untranslatable parts of Ulysses is the “Oxen” Coda that Joyce himself described as a “frightful jumble of Pidgin English, nigger English, Cockney, Irish, Bowery slang and broken doggerel” (Letters I 140). This poly-cacophony relies on a continuous switching of dialects, codes, substandards and pidgins, often within the same phrase; the sources of the entries in the Oxen Notesheet 17, identified by Chrissie van Mierlo, range from a 1902 edition of a dictionary of London cant and slangs, Suffolk and American East Coast sea slang, to the parlances of the American frontier and of diverse immigrant groups, mostly pilfered from Bret Harte’s 1902 Tales of the West, especially his parody of J.F. Cooper, the source of much caricature Native American, Black American, and Chinese American speech.

French
First French translation was published in 1929. It was made by August Morel, Stuart Gilbert, Valery Larbaud, and publisher Adrienne Monnier. Joyce himself assisted in translation; he was involved from the very start in 1922, and even "organized them [translators] into a team with a plan and a mission". Joyce chose Larbaud as the main reviser; he also "insisted on closeness to original denotation" and was anxious of possible mistranslations. It was the second published translation of Ulysses after the 1927 German one. It was noted for "its incredible rendering of French as it was spoken in the 1920s, to the point of being praised as an 'incredible anatomy of the French language' by André Topia". Because of that, the translation became "difficult to understand without a dictionary or without notes", as Morel used too many "contemporary idioms, idiosyncrasies and slang".

The second French translation, done by a team led by Jacques Aubert, was published by Gallimard in 2004. Aubert's team had eight people: Jacques Aubert, Marie-Danièle Vors, Michel Cusin, Pascal Bataillard (academics); Tiphaine Samoyault, Patrick Drevet, Sylvie Doizelet (writers); and Bernard Hœpffner (translator). Their way of working on the book was different from Morel's:

The first team of translators had been organized along a hierarchical pattern: Auguste Morel had translated the whole book, then his work had been reviewed by Stuart Gilbert, and then by Valery Larbaud who had the final say. Joyce answered questions and solved conflicts between the translators. This hierarchical organization implied a horizontal approach to the translation of the novel, as the translators worked on the episodes in chronological order and those were then successively revised, by Morel and Gilbert, and then Larbaud. In 2004, Jacques Aubert insisted on a more democratic organization, which was also linked to a more vertical approach to the text: each translator was in charge of one episode or more.

One of the translators, Tiphaine Samoyault, noted that such organization "facilitated the process of renouncing all linguistic normativity", Bernard Hœpffner called it an "eight-person schizophrenia". The team translated all the book's chapters except "Oxen of the Sun", that was taken from 1929 Morel's edition; according to translators, "this inscribed the history of the French translation of Ulysses within the work, making for a parallel with the particular style of the fourteenth episode, as the history of translation mirrored the history of the English language".

"April 8, 2003 – Which Bible should we use? “House of bondage” could be translated by “Maison de l’esclavage” (Sacy), “Maison de la servitude” (Segond), or “Maison d’asservis” (Bayard); “wilderness” by “solitude” (Sacy) or “désert” (Segond). No decision is made, but we have to respect the echoes. - from Bernard Hœpffner's diary about many challenges in translation."

p37 +table per translator

German
48 James Joyce: Ulysses: Roman, Übersetzung von Hans Wollschläger. Revision der Übersetzung Harald Beck mit Ruth Frehner und Ursula Zeller. Beratende Mitwirkung Fritz Senn. Vorwort Harald Beck (Berlin: Suhrkamp Verlag, 2018), “Unverkäuflicher Sonderdruck” is a book with a merely bibliographical but no practical existence: it was aborted before its publication. You cannot buy it. A mere 200 copies are reserved for a handful of experts and participants as well as libraries as a live document of what can happen to the literary revision of a classic.

49-50 Georg Goyert was the first to translate Ulysses almost unaided. He did have opportunities to consult the author but seems to have made little use of it, ... in 1927, in three expensive volumes ... revised German version appeared in 1930 in two still expensive. ... mid-1960’s, the rights had ceded to Suhrkamp Verlag who decided to have a complete edition of Joyce’s works, the “Suhrkamp-Ausgabe” under the editorship of Klaus Reichert. Ulysses was assigned to Hans Wollschläger ... was published early in 1976. ... new Ulysses was lauded into the literary Olympus as the “translation of the century”(!), practically overnight. It became an instant classic

50 A few months later Wollschläger died and years afterwards it turned out that no written contract had been made. Harald Beck, an excellent Joyce scholar with abundant expertise who had been part of Gabler’s editorial team, was entrusted with the revision, assisted by two academic Joyce scholars who were later replaced by Ruth Frehner and Ursula Zeller. The existing translation of considerable reputation was scrupulously gone over, and, inevitably, every alteration entailed consequences elsewhere, so that interventions proliferated. Within a decade the original version was effectively overhauled, mainly with the aim of factual accuracy and internal consistency. What the publisher deplorably neglected to do was to secure the rights of the revision. There is no question that Wollschläger would never have agreed to massive alterations by three, or more, expert revisers. So, when the revised translation was announced in the spring of 2017, the Wollschläger Estate stepped in and interdicted the publication. In its view, Wollschläger’s “work of art” had been destroyed, desecrated.

51 Wollschläger, a recluse genius not inclined to work within a team

Japanese
First Japanese translation was made by Sei Ito, Sadamu Nagamatsu and Hisanori Tsuji, and published in two parts by Daiichi-Shobo, Tokyo in 1931 and 1934. Ito published another translation of the first volume in 1938. The full version of the first translation was finally published in two volumes in 1955.

Second translation was made by Sohei Morita, Nahara Hirosaburo, Naotaro Tatsuguchi, Takehito Ono, Ichiro Ando and Eitaro Murayama and published "in five small paperbound volumes" from 1932 to 1935, in Tokyo. Full version of the second translation, without deletions, was published in 1952.

The third translation by Saiichi Maruya, Reiji Nagakawa and Yuichi Takamatsu was published in 1964; revised edition was published in 1996-1997.

Czech
Aloys Skoumal

48 Aloys Skoumal’s Odysseus       from 1976 and its 2012 re-edition

149 two important translations, both published in 1930: a deluxe four-volume hardbound translation of A Portrait of the Artist as a Young Man (by Stanislava Jílovská) and a Ulysses translated by Ladislav Vymětal and Jarmila Fastrová ... (Vymětal translated the first volume from “Telemachus” to “Sirens,” and the third from “Circe” onwards, while Fastrová took up the middle tome, “Wandering Rocks” through “Oxen”),

Highly criticised translation

151-152 Skoumal’s Odysseus was published after many delays in 1976 by Odeon in a generous print run of 7,000 hardbound copies. Despite this, it was promptly repressed by the communist regime, reserved for sale only to Party members and/or medical experts in the field of psychiatry.

a letter to his friend, Catholic writer Jaroslav Durych, from 14 April 1926, Skoumal’s account of Dublin after his trip has also something of the Joycean Hassliebe about it: “Dublin is a city of beggars, a city of poverty, dirt, dust, a city of ruined houses, a city of people who despite their humiliation have some-thing noble (dare I say royal) about them"

156 last remark on Skoumal’s translation of import for the following discus-sion of its 21st-century upgrade: the Czech of Skoumal’s text, in keeping with Joyce’s original, is highly artificial, though it departs from it in terms of an of-tentimes archaic lexicon ... In a language as minor, compact and uniform as Czech, it is diffi-cult to express regional diversity. So instead of symptoms of locality, Skoumal might have chosen to convey diachronic obscurity, which brought about the very striking and poetic

Spanish
First Spanish translation was by José Salas Subirat, who was "an employee in an insurance agency" who did not speak English, published in Buenos Aires in 1945. Criticized at first, his translation got more attention later. Revised version was published in 1952,

"Juan José Saer used to tell a funny story about this: when he was young, Saer and some friends met Borges, who was very dissatisfied with that translation: "It is really bad," Borges said, but someone – probably Saer himself – disagreed: "It might be, but if it is, Mr Salas Subirat is the greatest writer in the Spanish language.""

The second translation, made by philosophy professor José María Valverde, was published in Barcelona in 1976. The third Spanish translation was made by Francisco García Tortosa and María Luisa Venegas Lagüéns, both literature scholars, and published in 1999. Translators said in a later interview that they "don’t want a translation of Ulysses in colloquial Spanish, we want it like Joyce wrote it". Other translations were made by Marcelo Zabaloy in 2015, and Rolando Costa Picazo in 2018.

Catalan
Catalan translation by Joaquim Mallafre was published in 1981. Earlier translation by J. F. Vidal Jové, made in 1966, was never published.

Danish
Danish translator Mogens Boisen spend 18 years translating Ulysses. He said about the task "One is not the same. One has been Ulyssified." His particular obsession was with Ulysses’s many “leitmotifs.” He created an elaborate filing system to make sure that he could keep track of a motif that appeared near the beginning 700 pages later. When he was done with his Danish version, he went on to correct the leitmotifs of the German translation and offered to do the same for the French and Swedish ones.

Polish
First Polish translation was published in 1969 by Maciej Słomczyński, and was called "a literary sensation" that "became a bestseller with 40,000 copies disappearing from bookshops immediately". Słomczyński, who was also a detective fiction writer published under pen name Joe Alex, spent 13 years translating Ulysses. Next translation was made by Maciej Świerkocki in 2021.

Hebrew
In 1985, “Ulysses” was published by Hotsaat Mahbarot Le-Sifrut in Tel Aviv in a Hebrew translation by Yael Renan of the Department of Hebrew Literature, Tel Aviv University

The highlight of her work as a translator was the translation of Ulysses. Renan began translating at the age of 25, and finished translating the book after 12 years in 1985.

It must have required a certain acceptance of infidelity to translate Ulysses into Hebrew. David Shulman believes that Yael Renan’s version is “vastly superior to the original”. How such a judgement is arrived at is not explained. The translator himself has complained about Hebrew being deficient in slang.

Arabic
First translation into Arabic was made by Egyptian professor Taha Mahmoud Taha and published in 1982. Iraqi poet Salah Niazi criticized it, and started to work on his own tranlation in 1984. It was published in three volumes in 2001, 2010 and 2014.

Chinese
Xiao Qian and his wife Wen Jieruo translated the book into Chinese.

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Russian
First Russian translation was published in 1993. Started by Victor Khinkis in 1972, it was finished by Sergey Khoruzhiy after Khinkis death in 1982.

Belarusian
Jan Maksymiuk, an ethnic Belarusian born and raised in northeastern Poland and educated in Warsaw, undertook the sisyphean task of translating Joyce's Ulysses into Belarusian of literary norm. In Poland he received a state grant to publish 1,000 copies of the book, which he did in 1993, and managed to sell 700 copies across the border in Minsk, while the remaining 300 copies were still kept under his bed in 1998.71 Asked during a conference in Krakow why so few copies were sold in Minsk, Maksymiuk responded: 'You see, one has to take a proportional view, that is, to take into account how many people at the moment indeed routinely use Belarusian in Belarus ... Nominally, there are 10 million Belarusians, yes? As for those who speak Belarusian, use this language for the most part and are able to read on the level on which Ulysses is written, with all its phraseology and vocabulary, I think that they account for some 0.1% It's some 10,000 people

Maksymiuk, Jan. "O 'bialoruskim' Ulissesie." Wokol Jamesa Joyce'a: szkice monograficzne. Ed. Bazarnik, Katarzyny; Fordhama, Finna. Kraków: Universitas, 1998. 184-94. ISBN 83-7052-847-3

Kurdish
In 2023, the book was published in Kurdish, translated by poet and translator Kawa Nemir, who worked in it since 2012. For Nemir, translating Ulysses into Kurdish was a way to draw attention to a language that had been the victim of nationalist politics in Turkey. ... To translate Ulysses into a language that few Turks could learn, Nemir thought, would silence those who mocked Kurds by saying they didn’t even have a language. ... Nemir figured that if he could replicate Joyce’s linguistic feat in Kurdish, with all its grammatical and historical texture, then nobody would be able to dismiss it as an inferior language. ... If he couldn’t find anything in Kurdish sources or his notebooks, Nemir coined words himself, basing them in Latin and Greek. ... In translating Ulysses into a language that, as he put it, “miraculously survived the hellish conditions of the Middle East for one thousand years,” Nemir had one advantage: Kurdish, he found, is very close to Old English, as the syntaxes of Kurdish and English are quite similar. Documentary film about the work, Translating Ulysses, was refused to be shown in Turkey. Nowadays, in his apartment in Amsterdam, Nemir is writing a 900-page Kurdish readers’ guide to Ulysses, with references, photographs and a 200-page preface.

In other sections of the novel, he struggled with matching Joyce’s large vocabulary about the sea. After all, Nemir noted, Kurdistan is one of the most mountainous regions in the world, and Kurds never expanded far from the mountains. For the translator, the problem was finding Kurdish words for sea creatures that Kurdish writers had not mentioned in their works — and that thereby remained unnamed in the Kurdish language. He studied various genera of fish, trying to locate words used in Kurdish texts, turning to his notebooks. In 1994, Nemir had scribbled the word “whale-path” in a notebook while studying Beowulf in college. He knew that Kurds called whales neheng, so he wrote in his notebook: “whale-path: rêka nehengan.”

Another notebook was just a dictionary of words Nemir had gathered from conversations with Kurdish convicts, words describing details about drinking alcohol, playing card games and having sex. For example, bûye pilot, an expression Nemir had heard from a convict while staying at a prison in Mardin, describes “someone ready for action in all hours of the day.” But the word, which has a double meaning, can suggest both courage and drink. When describing Bob Doran, a character who suffers from a bad marriage in Ulysses and attempts to escape it through an extravagant alcoholic binge, he wrote, “Hê di sa‘et pênca da bûye pilot”: “Boozed at five o’clock.”

Finnish and Swedish
Erik Andersson (translator), who also translated Tolkien's books Hobbit and LOTR. cc-by 4.0

In 2004, the prestigious publisher Gallimard released a new French translation; a polyphonic version where different individuals had translated the 18 episodes (Hoepffner 2011). In 2012, Dutch readers received a second retranslation, and, in the same year, Finnish fans of Joyce finally had an alternative to the original translation, which contained many errors. ... the first Swedish version of Ulysses, entitled Odysseus (Sw.) (Joyce 1946), was published in 1946 by Bonniers publishing house. The translator, Thomas Warburton (1918–2016), was a relatively young Finland-Swedish editor, translator, and writer at the time. In 1993, a revised version was released where Warburton had made more than 4000 changes. ... There is, however, consensus that Andersson’s translation is rawer, filthier, and more physical than the previous translation.

Leevi Lehto published his translation into Finnish in 2012.

The only previous Finnish version of the 1922 book was hurriedly done in about six months by poet Pentti Saarikoski in 1964, an attempt that many Joyce aficionados have considered somewhat lacking.

The publication of Pentti Saarikoski’s translation of Ulysses in 1964 was hailed as one of the most memorable events in Finnish translated literature. Many had considered Joyce’s masterpiece an impossible work to translate. In the translator’s afterword, Saarikoski himself points to the unusual difficulties involved in the translation task and makes a special mention of the problems caused by the differences between the English and Finnish languages and between Irish and Finnish culture.

Italian
How Italy holds the world record for the number of Ulysses’ translations [OC]

When I was asked to do a new translation of Ulysses, I accepted for the sole reason that the publisher wanted to include the original as parallel text.

Hungarian
Ulysses was first translated into Hungarian by Endre Gáspár. The book was published in 1,000 copies in 1947. This translation was both praised and heavily criticised - Miklós Szentkuthy, who translated the book in 1974, wrote of Gaspar's translation that it "'normalises', 'consolidates', 'flattens', 'dilutes', 'irons out', 'sobers up', 'tames', 'greys', 'kills' Joyce's sentences, depriving them of their poetry, playfulness, word-music and rhythm".

Szentkuthy's translation of 1974 became canonical in Hungary, and was described as "the crowning achievement of Hungarian translation culture". In 2012, it was revised by a team of scholars, András Kappanyos, Marianna Gula, Dávid Szolláth and Gábor Zoltán Kiss. It is said to be "re-editing and partial retranslation based on Szentkuthy’s work which occasionally refers to Gáspár’s text ... the Revised text is a scholarly palimpsest written across the two previous texts".

Erika Mihálycsa noted that "is particularly ill-suited to convey the Coda’s centrifugal diversity of idiolects: a landlocked language, it lacks historical dialects, having merely regional accents".

"Her wavyavyeavyheavyeavyevyevyhair un comb:’d" (U 11.809) "Hullámosálmosalámoshalálosshampootlanloncsos haja mosatla (N, álzár-lat)" (wavy sleepy wash under deadly shampooless dishevelled hair unwash [ed, fake closure]) (Hu/Szentkuthy 344) "Hul-lámosámosámosúlyosúlyosúlyos haja fé sület: len" (Hu/Revised 269)

Brazilian Portuguese
202 Portuguese language has five translations of Ulysses.1 Three of them are Brazilian, mine being the most recent. I cannot truly evaluate the results of the two European translations, since the “linguistic gap” between the two versions of Portuguese is significant and, more importantly, it is asymmetrical, with Brazilians being less exposed to, and less able to understand the finer points of European usage. Nevertheless, our three translations merit a closer study

In 1964 there was still no complete translation of Ulysses in Portuguese. Enter Antônio Houaiss, a diplomat forced into early retirement by the military dictatorship, a man who would have conceived, by the end of that century, the best dictionary the Portuguese language has ever known, the man who would become the first translator of Ulysses into Portuguese and, definitely, the stone that created all the ripples to come. His translation was published in 1966 as the literary event of the year, but also represented one definite take on Joyce’s work.

203 2005. The profile of the second translator, Bernardina da Silveira Pinheiro, could hardly be more different from that of Houaiss’s. What she shared with her predecessor is the fact that she was, and still remains, someone with a marginal involvement in literary translation as a regular activity. Her first translation was A Portrait of the Artist as a Young Man (1992), followed by only one other book: Sterne’s Sentimental Journey (2002).4 Born in 1922, she is only seven years younger than Houaiss. But Pinheiro was, to begin with, a qualified Joycean, someone who studied with Richard Ellmann.

204 My translation came to be finally published in 2012. But having started my work in 2002, I was already immersed in it when Pinheiro’s translation ap-peared. I also come from a different background. I was born seven years after the publication of the first Brazilian Ulisses, and when my own Ulysses was published, it was my 25th translation. The work was initially part of a doc-toral thesis that was finalized in 2006, and from then on, I have published about Joyce, translated A Portrait,5 Dubliners,6 Giacomo Joyce and Finn’s Hotel,7 as well as written the first companion to Ulysses in Portuguese

218 In no other chapter is adding material in order to avoid the loss of mean-ing/effect a bigger issue to me than in “Oxen of the Sun,” where I decided that the only way to actively respond to Joyce’s challenge (and to actually repli-cate the textual effect in my tradition and on my readers) was not simply to translate his paragraphs with the adequate patina of each paraphrased style (something beautifully done by Houaiss, for instance). I thought I had to cre-ate a full-blown list of Portuguese-Brazilian equivalents to the authors, styles, genres and periods that Joyce had emulated, with all the limitations that come from a much shorter literary history. Then I had to translate the original trying to create pastiches of true historical Portuguese texts, from the trovadores of the 13th century, through Camões and Brazilian Romanticism, to end with a collage of all types of jargons.21

Turkish
179 In the present essay, the author-translator summarizes his motivations, goals and methods for the retranslation of Ulysses into Turkish (2012), comparing it to Nevzat Erkmen’s previous, 1996 translation. The primary goal for retranslation was to make the Turkish readers realise the richness, humanity and humour of the book. Partially due to the translation strategies of Erkmen, Ulysses is still known to most Turkish readers as cold and unreadable, written in an impenetrably experimental and erudite language. By retranslating, Ekici wanted to recreate his own joy of reading the origi-nal

180 -181 . I felt that it was not reaching its readership in Turkish: it was seen as an unreadable, cold, erudite book, partly because of the translation strategies of Erkmen – whereas to me, Ulysses is a book full of joy, life, music and humour; after more than 10 years of studying and reading it, I was impressed by its richness, especially in the form of the unabridged audiobook from Naxos.4 I wanted to render it as I saw it in my native language.

Nevzat Erkmen approaches Ulysses as a dictionary-and-puzzle man: he used to be the captain of the Turkish team that competed in the World Puzzle Championships, and he also wrote puzzle books; he is the author of the only rhyming dictionary of Turkish. He enjoys using rhymes and his exten-sive vocabulary, including many words from Ottoman Turkish that fell into disuse with the language reform in the last century.8 This might be partly generational: Erkmen, born in 1931, was exposed to Ottoman Turkish when he was growing up, and his use of Ottoman Turkish words very often makes the book less readable than the original.

184 I had to deal with the stylistic parodies. I looked for analogous registers in Turkish (a pompous newspaper article, sports report-ing, bad puns, bad novels in the vein of Sweets of Sin, nationalistic propaganda, legal text, political speech, soldiers swearing, occult writing, masonic ritual, girls’ magazine, anti-Semitic language, blackface jokes, Gypsy slang, folk id-ioms…) and I used the colours and phrases of such texts in rendering such par-odies.

186 famously problematic episode is “Oxen of the Sun.”

187 188 Ulysses is a deeply intertextual book and I wanted my translation to reflect this. For the references to the classics, I quoted the available Turkish trans-lations that are seen as “canonical.” For the references to the Bible, I used the 1941 edition of the Turkish Bible; this is the translation where you will find the language and the style used by Turkish authors when they quote the Bible.25 For the allusions to Shakespeare, I used the translations of Sabahattin Eyuboğlu.26 His translation is the one that most Turkish people would quote as Hamlet: for example, Oğuz Atay’s 1971 The Disconnected has, thanks to the influence of Ulysses, many references to Hamlet, and these are clearly in the wording of Eyuboğlu’s 1965 translation. When Bloom misquotes Hamlet, I mis-quote Eyuboğlu’s translation. ... Similarly, I used Azra Erhat’s translation for Homer.27

189 If Lenehan is spewing stale palindromes, I have to find the corresponding stale palindromes in Turkish. His “able was I ere I saw Elba” (7.683) had to be substituted as “Anastas mum satsana,” the one palindrome everybody knows in Turkish, meaning “Anastas, why don’t you sell some candles” (T/Ekici 136)

200 Nevzat Erkmen’s translation uses a much higher dose of Ottoman Turkish, further en-riched by neologisms and folk language, showing a clear preference for the wideness of vocabulary; my translation aims to imitate the effects of the collo-quial language, slang and parodies in Ulysses using modern, colloquial Turkish and slang as the base register.

One of the paradoxes of translation is that the original texts are timeless, yet translations grow old: in 50 years’ time my attempt to render Ulysses using current colloquial language and slang will start to age, too. There will come a point when somebody says: “I have to retell the story in today’s language.”

Serbo-Croatian
There are three translations of James Joyce’s Ulysses (1922) into Serbo-Croatian: Zlatko Gorjan Uliks (1957), Luko Paljetak Uliks (1991) and Zoran Paunović Uliks (2001). The first two translations are in the Croatian dialect, whereas the third is in the Serbian dialect. Additionally, Gorjan’s translation is important as it is among the first ten translations of Ulysses. ... many of the translations preceding the Serbo-Croatian translations show evidence of censorship and (self)censorship when it comes to sexuality-related topics.

Svetozar Koljević, “The Reception and Translation of James Joyce in Serbo-Croat,” in Literary Interrelations (Ireland, England and the World). Volume 1, Reception and Translation, eds.

Wolfgang Zach and Heinz Kosok (Tübingen: Gunter Narr Verlag, 1987): 91-99; Jerneja Petrič, “How Adequately Can Joyce Be Translated? Ulysses and its Slovene Translation,” in Literary Interrelations (Ireland, England and the World). Volume 1: 101-107; Aleš Pogačnik, “Letter,” James Joyce Quarterly 30, 2 (1993): 361-362;

Aleš Pogačnik and Tomo Virk, “The Reception of James Joyce in Slovenia,” in The Reception of James Joyce in Europe. Volume I: Germany, Northern and East Central Europe, eds. Geert Lernout and Wim Van Mierlo (London, New York: Thoemmes Continuum, 2004): 162-177;

Sonja Bašić, “The Reception of James Joyce in Croatia,” in The Reception of James Joyce in Europe. Vol. I: 178-186;

Kalina Filipova, “The Re-ception of James Joyce in Bulgaria,” in The Reception of James Joyce in Europe. Vol. I: 236-243; Irena Grubica, “Ulysses in Croatian,” in Joyce and/in Translation, eds. Rosa Maria Bollettieri Bosinelli and Ira Torresi (Roma: Bulzoni, 2007): 107-117;

Sandra Josipović, “The Reception of James Joyce’s Work in Twentieth-Century Serbia,” in Censorship across Borders: The Reception of English Literature in Twentieth-Century Europe, eds. Catherine O’Leary and Alberto Lázaro (Cambridge: Cambridge Scholars Publishing, 2011): 93-104.

Other languages
Eastern Europe

Bibliography2008

Mihálycsa, Erika. "Horsey Women and Arse-Temises: Wake-ing Ulysses in Translation." Why Read Joyce in the 21st Century (2012): 74-88. in Why Read Joyce in the 21st Century?, eds. Franca Ruggieri and Enrico Terrinoni. (Roma: Edizioni Q, 2012), 79-92, 87.

“Music hath jaws: Translating Music and Silence in Joyce’s Ulysses,” in James Joyce’s Silences, eds. Jolanta Wawrzycka and Serenella Zanotti (London – New York: Bloomsbury, 2018), 209-29.

Enrico Terrinoni, “Translating Ulysses in the Era of Public Joyce: A Return to Interpre-tation,” in Bridging Cultures: Intercultural Mediation in Literature, Linguistics and the Arts, eds. Ciara Hogan, Nadine Rentel and Stephanie Schwerter (Stuttgart: Ibidem-Verlag, 2012), 113-124