James Joyce put a lot of Chinese images into Finnegans Wake in a fragmentary way. By analyzing those Chinese fragments, this paper demonstrates that Finnegans Wake presents a world history in which various races and cultures blend and coexist. Although Joyce had to use images with racial discrimination popular in Western texts, he uses them fragmentarily to remove their contexts of racialism and mixes them to prevent discrimination. Joyce frames the Chinese history in Finnegans Wake with a Vico’s structure of Bruno’s dialectical unity. Those seemingly random fragments and this structure of dialectical unity together form a universal history both ordered and random, noble and vulgar, opposite and unified, grand and trivial. His fragmentary history breaks the latent hierarchical order in the ordinary world history, and points out a possibility of the integration of different races.