DOCSLIB.ORG

Ulysses — 16 June 1904

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ulysses — 16 June 1904 Ulysses — 16 June 1904 https://archive.org/details/Ulysses-Audiobook http://www.gutenberg.org/files/4300/old/ulyss10h.htm Ulysses (1922) Novel of Adultery/Crime Fiction — Realism Mythic — Homeric (sub species temporis nostri) Modernist — Modes of representation (particularly consciousness–monologue interieur) Post-Modernist — Experimental (interrogation of presuppositions; cultural; “play”) Modernism ‘Modernism is not so much a thing as a set of responses to problems posed by the condition of modernity’ —Michael H. Whitworth, Ed., Modernism. Oxford: Blackwell, 2007, p. 3. Modernity Modernity defined in terms of: technology and social and ideological context telephone; telegrams; electric light; train travel; cinema; international cable network for news; radio; mechanised warfare; steam ships • the city and the comforts of modern life • the dominance of ‘instrumental reason’ • Historical events such as WWI and the Holocaust —Michael H. Whitworth, Ed., Modernism. Oxford: Blackwell, 2007, pp. 5-10. ‘So what was that all about?’ — Spike Milligan Within the arts at least, and among some philosophers, it is, after all, not news that what some regard as the great achievements of European modernity, such things as an urban, cosmopolitan civilization, material prosperity, a methodologically secure, rational grounded science, individual liberty, might also reflect a dangerously naïve optimism, merely class-based interests, or might represent or presuppose disguised forms of repression, or might contribute to a stultifying, boring, even a pointless life. Robert B. Pippin, Modernism as a Philosophical Problem. 1991; Oxford: Blackwell, 1999, p. 2. “Character” as text; intertext; context Leopold Bloom (“Poldy”) 38 years old (married when 23) Father Jewish; Mother English. Canvasser for The Freeman’s Journal (A newspaper with Catholic sympathies). Marion Bloom (“Molly”) 34 years old (married when 19) Father English, Major Tweedy; Mother Jewish, Lareto Lado. Born and grew up in Gibralter. Married Bloom in 1888. Millicent Bloom (“Milly”) 15 years old. Has left home and is working in a photo shop in Mullingar. Rudolph Bloom (“Rudy”) Born 29 December 1893; dies 9 January 1894. (10½ years before 16 June 1904) “Character” as text; intertext; context Hugh Boylan (“Blazes” Boylan) Owns a successful advertising agency. Wealthy. Flashy dresser. Sports promoter, singer and impresario. Stephen Dedalus 22 years old. Aspiring poet and failed medical student returned from Paris and teaching in a school for middle-class boys and living in a Martello Tower in Sandycove with Buck Mulligan (Irish medical student) and Haines (Hibernophile). Gertrude McDowell (“Gerty”) 22 years old. Single niece of the “Citizen” Telemachus (S) Time: 8.00am Scene: Martello Tower, Sandycove. Technique: narrative Telemachus (Hamlet): Stephen Dedalus Antinous (Claudius): Buck Mulligan Mentor: The Milk-woman Nestor (S) Time: 10.00am Scene: A private school for boys in Dalkey Technique: Catechism Nestor: Mr Deasey Pisisatratus: Sargent Helen: Mrs O’Shea Proteus (S) Time: 11.00am Scene: Sandymount Strand Technique: monologue (male) Menelaus: Kevin Egan Megapenthus: Cocklepickers 7 Eccles Street Calypso (B&M) Time: 8.00am Scene: 7 Eccles Street, Dublin Technique: narrative (mature) Calypso: The nymph [the print over the Blooms’ bed] The Recall: Dlugacz Ithaca: Zion Lotus-Eaters (B) Time: 10.00am Scene: Dublin streets indirectly to Westland Row Post Office Technique: narcissism Ulysses (no parallels in schema) Nausicaa (Compare with Nausicaa episode) Hades (B) Time: 11.00am Scene: Prospect cemetery in Glasnevin Technique: incubism The four rivers of Hades: (Styx, Acheron, Cocytus, Pyriphlegethon) as The Dodder, the Grand and Royal Canals, The Dodder) Elpenor: Paddy Dignam Aeolus (B) Time: 12.00 noon Scene: The newspaper offices of The Freeman’s Journal (and The Evening Telegraph) Technique: Rhetoric Aeolus: Crawford Incest: Journalism Floating Island: the Press Lestrygonians Lestrygonians: Consumerism and Consumption in the self-consuming city Down from the cliffs they flung great rocks a man could hardly hoist And a ghastly shattering din rose up from all the ships— Men in their death-cries, hulls smashed to splinters— They speared the crew like fish … —Odyssey, X: 132-5. Corporeality Eating Drinking Advertising Lestrygonians (B) Time: 1.00pm Scene: Davy Byrne’s pub Technique: peristaltic Sense of the episode: dejection Scylla and Charybdis (S & B) Time: 2.00pm Scene: National Library of Ireland, Kildare Street Technique: dialectic The Rock (Scylla): Arristotle, dogma, Stratford The Whirlpool (Charybdis): Plato, Mysticism, London Ulysses: Socrates, Jesus, Shakespeare The Wandering Rocks (B&S) Time: 3.00pm Scene: The streets of Dublin Technique: labyrinth Sense of episode: The hostile environment The episode is composed on nineteen sections, which are interrupted by interpolated actions that are temporally simultaneous but spatially remote from the central action in which the interpolation occurs. Sirens (B&B) Time: 4.00pm Scene: The Concert room of the Ormond Hotel, 8 Ormond Quay Upper Technique: Fuga per canone Sirens: The barmaids (Miss Douce; Miss Kennedy) Isle: The Bar Cyclops (B) Time: 5.00pm Scene: The Tavern, Barney Kienan’s pub, 8–10 Little Britain Street Technique: gigantism Noman: I Stake: cigar Challenge: Apotheosis Nauiscaa (B) Time: 8.00pm Scene: Sandymount Strand (episode 3) Technique: tumescence, detumescence Phaeacia: The Star of the Sea Church Nausicaa: Gerty McDowell The projected mirage (Advertising; The fog in which Athena cloaks Odysseus) Oxen of the Sun (B&S) Time: 10.00pm Scene: The National Maternity Hospital, 29-31 Holles Street Technique: embryonic development Trinacria: The Hospital Lampote and Phaethusa: The nurses Helios: Doctors Oxen: fertility Crime: Fraud [in the formal sense of breaking a vow] Circe (B&S) Time: 12.00 midnight Scene: The Monto, Mrs Cohen’s Brothel, 82 Tyrone Street Lower Technique: hallucination Circe: Bella Meaning: antropofago – man eating or antrophobia – mobid sensation of angst when amongs people Eumaeus (B&S) Time: 1.00am Scene: The cabman’s shelter just under the Loop Line bridge, just west of the Custom House Technique: narrative (old) Eumaeus: Skin-the-Goat Ulysses Pseudangelos: The sailor D.B. Murphy Melanthious: Corley Ithaca (B&S) “” (S.M.P) Time: 2.00am Scene: Bloom’s house, 7 Eccles Street Technique: catechism (impersonal) Antinous: Buck Mulligan Eurymachus: Blazes Boylan Bow: reason Suitors: scruples [minute quantities] Penelope For the four 4 years more I have of life up to 35 no Im what am I at all Ill be 33 in September A card Unfurnished Apartments slipped from the sash and fell. A card Unfurnished Apartments reappeared on the windowsash of number 7 Eccles street. 7 Eccles Street … Im sure Im not going to take in lodgers off the street for him if he takes a gasebo of a house like this … Penelope (M&B) “yes” Time: eternity ∞ Scene: the bed Technique: monologue (female) Penelope: earth Web (The shroud that Penelope weaves for Laertes): movement.
Load more

Recommended publications
  • 1974.Ulysses in Nighttown.Pdf
    The- UNIVERSITY· THEAtl\E Present's ULYSSES .IN NIGHTTOWN By JAMES JOYCE Dramatized and Transposed by MARJORIE BARKENTIN Under the Supervision of PADRAIC COLUM Direct~ by GLENN ·cANNON Set and ~O$tume Design by RICHARD MASON Lighting Design by KENNETH ROHDE . Teehnicai.Direction by MARK BOYD \ < THE CAST . ..... .......... .. -, GLENN CANNON . ... ... ... : . ..... ·. .. : ....... ~ .......... ....... ... .. Narrator. \ JOHN HUNT . ......... .. • :.·• .. ; . ......... .. ..... : . .. : ...... Leopold Bloom. ~ . - ~ EARLL KINGSTON .. ... ·. ·. , . ,. ............. ... .... Stephen Dedalus. .. MAUREEN MULLIGAN .......... .. ... .. ......... ............ Molly Bloom . .....;. .. J.B. BELL, JR............. .•.. Idiot, Private Compton, Urchin, Voice, Clerk of the Crown and Peace, Citizen, Bloom's boy, Blacksmith, · Photographer, Male cripple; Ben Dollard, Brother .81$. ·cavalier. DIANA BERGER .......•..... :Old woman, Chifd, Pigmy woman, Old crone, Dogs, ·Mary Driscoll, Scrofulous child, Voice, Yew, Waterfall, :Sutton, Slut, Stephen's mother. ~,.. ,· ' DARYL L. CARSON .. ... ... .. Navvy, Lynch, Crier, Michael (Archbishop of Armagh), Man in macintosh, Old man, Happy Holohan, Joseph Glynn, Bloom's bodyguard. LUELLA COSTELLO .... ....... Passer~by, Zoe Higgins, Old woman. DOYAL DAVIS . ....... Simon Dedalus, Sandstrewer motorman, Philip Beau~ foy, Sir Frederick Falkiner (recorder ·of Dublin), a ~aviour and · Flagger, Old resident, Beggar, Jimmy Henry, Dr. Dixon, Professor Maginni. LESLIE ENDO . ....... ... Passer-by, Child, Crone, Bawd, Whor~.
    [Show full text]
  • Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, A
    Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, a young poet employed as a school teacher; Buck Mulligan, a med student; and an Englishman called Haines, who is in Ireland to study Celtic culture, spend their morning in their Martello Tower at the seaside resort town of Sandycove, south of Dublin. Stephen, who is mourning for his dead mother, watches Buck shave on the parapet, they discuss things, Buck goes inside to cook breakfast. They all eat while a local farm woman brings them their milk. Then they walk Martello (now called the "Joyce") Tower at down to the "Forty Foot Hole," where Buck Sandycove swims in Dublin Bay. Pay careful attention to what the swimmers say about the Odyssey, Odysseus was missing, Bannons and the photo girl. presumed dead by most, for ten years after the end of the Trojan War, and Look for parallels between Stephen and his palace and wife in Ithaca were Hamlet, on one hand, and Telemachus, the beset by "suitors" who wanted to son of Odysseus, on the other. In the become king. Ulysses is a sequel to Joyce's A Portrait of the Artist as a Young Man, which is a bildungsroman starring Stephen Dedalus. That novel ended with Stephen graduating from University College, Dublin and heading off for Paris to launch his literary career. Two years later, he's back in Dublin, having been summoned home by his mother's illness. So he's something of an Icarus figure also, having tried to fly out of the labyrinth of Ireland to freed om, but having fallen, so to speak.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • James Joyce and His Influences: William Faulkner and Anthony Burgess
    James Joyce and His Influences: William Faulkner and Anthony Burgess An abstract of a Dissertation by Maxine i!3urke July, Ll.981 Drake University Advisor: Dr. Grace Eckley The problem. James Joyce's Ulysses provides a basis for examining and analyzing the influence of Joyce on selected works of William Faulkner and Anthony Bur­ gess especially in regard to the major ideas and style, and pattern and motif. The works to be used, in addi­ tion to Ulysses, include Faulkner's "The Bear" in Go Down, Moses and Mosquitoes and Burgess' Nothing Like the Sun. For the purpose, then, of determining to what de­ gree Joyce has influenced other writers, the ideas and techniques that explain his influence such as his lingu­ istic innovations, his use of mythology, and his stream­ of-consciousness technique are discussed. Procedure. Research includes a careful study of each of the works to be used and an examination of var­ ious critics and their works for contributions to this influence study. The plan of analysis and presentation includes, then, a prefatory section of the dissertation which provides a general statement stating the thesis of this dissertation, some background material on Joyce and his Ulysses, and a summary of the material discussed in each chapter. Next are three chapters which explain Joyce's influence: an introduction to Joyce and Ulysses; Joyce and Faulkner; and Joyce and Burgess. Thus Chapter One, for the purpose of showing how Joyce influences other writers, discusses the ideas and techniques that explain his influences--such things as his linguistic innovations, his use of mythology, and his stream-of­ consciousness method.
    [Show full text]
  • 3.11 SECTION 10: SANDYMOUNT STRAND (See Drawings 10 & 11
    6(&7,216$1'<02817675$1' considered a highly effective flood defence measure in this location. Clearly the design of this section will need to satisfy the primary objective of protecting the public realm and residential properties from flooding. (See Drawings 10 & 11) It is proposed that S2S be incorporated into these flood protection measures, with a 3.5 metre wide footway and 3.5 metre wide cycleway aligned on the seaward side of the promenade. Pedestrian and cyclists links 3.11.1 Section 10.1: Sean Moore Park to Sandymount Promenade will be constructed through the promenade linking the key junctions on Strand Road to S2S. A traditional sloping rock revetment is the preferred form of construction for the new section of promenade. This will form Existing Environment the front edge of the flood protection measure with steps down to the strand provided at regular intervals. Reverting back off road, Section 10.1 commences at the northern end of Sandymount Strand at the start of However rock armour may be necessary for the purpose of flood defence. the Poolbeg Peninsula and extends 800metres southwards to the start of the Sandymount Promenade. The principle behind the landscape finishes here will be to extend the character already established by the The strand along this section of the route is part of the Sandymount Strand /Tolka Estuary Special existing promenade further south along Sandymount Strand (refer to section 10.2 below). To this end, Protected Area (SPA) and the South Dublin Bay Special Area of Conservation (SAC). lighting, seating and litterbins of a ‘traditional’ style will be provided.
    [Show full text]
  • The Perils and Rewards of Annotating Ulysses
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2013 Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses Barbara Nelson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Nelson, Barbara, "Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses" (2013). Graduate Student Theses, Dissertations, & Professional Papers. 491. https://scholarworks.umt.edu/etd/491 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. GETTING ON NICELY IN THE DARK: THE PERILS AND REWARDS OF ANNOTATING ULYSSES By BARBARA LYNN HOOK NELSON B.A., Stanford University, Palo Alto, CA, 1983 presented in partial fulfillment of the requirements for the degree of Master of Arts in English The University of Montana Missoula, MT December 2012 Approved by: Sandy Ross, Associate Dean of The Graduate School Graduate School John Hunt, Chair Department of English Bruce G. Hardy Department of English Yolanda Reimer Department of Computer Science © COPYRIGHT by Barbara Lynn Hook Nelson 2012 All Rights Reserved ii Nelson, Barbara, M.A., December 2012 English Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses Chairperson: John Hunt The problem of how to provide useful contextual and extra-textual information to readers of Ulysses has vexed Joyceans for years.
    [Show full text]
  • The Realism of James Joyce: Autobiography, Intertextuality, and Genius
    Western Washington University Western CEDAR WWU Honors Program Senior Projects WWU Graduate and Undergraduate Scholarship Spring 2004 The Realism of James Joyce: Autobiography, Intertextuality, and Genius Andrew Shanafelt Follow this and additional works at: https://cedar.wwu.edu/wwu_honors Part of the English Language and Literature Commons Recommended Citation Shanafelt, Andrew, "The Realism of James Joyce: Autobiography, Intertextuality, and Genius" (2004). WWU Honors Program Senior Projects. 281. https://cedar.wwu.edu/wwu_honors/281 This Project is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Honors Program Senior Projects by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. The Realism of James Joyce Autobiography, Intertextuality, and Genius Andrew Shanafelt Honors Senior Project June 2004 Advisor: Dr. Margaritis WESTERN _______B WASHINGTON UNIVERSITY_________________________________ An equal opportunity university Honors Program HONORS THESIS In presenting this Honors paper in partial requirements for a bachelor’s degree at Western Washington University, I agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes. It is understood that any publication of this thesis fog comififerotel purposes or for financial gain shall not be allowed without my written pe/mis^pn. Signature Date_ (^/3/zoo^ Stately, plump Oliver Gogarty sits down in 1921 to read the mammoth novel that his erstwhile friend and roommate has at last completed, and against all odds published. He is understandably disturbed and surprised by what he finds.
    [Show full text]
  • And Type the TITLE of YOUR WORK in All Caps
    “TWO NOTES IN ONE THERE”: COUNTERPOINT AS PARADIGM IN JAMES JOYCE’S ULYSSES by FRANCES VICTORIA LOVELACE (Under the Direction of Adam Parkes) ABSTRACT In this study of James Joyce’s Ulysses (1922) I discuss the limits and dangers of using analogies between musical and literary works without firmly understanding the musical model that is being brought into comparison with the novel in question. Conversely, I show that a musical paradigm such as counterpoint, if properly defined, can be a very useful method by which to read and understand Joyce, since the syntax of music is as important to (and ever- present within) the world of Ulysses as that of the English language. I demonstrate that a contrapuntal reading of the often-overlooked “Wandering Rocks” episode serves to uncover some darkly ironic questions about Anglo-Irish politics, and that while the fugal structure that Joyce claimed for “Sirens” is a deeply suspect analogy, a reading of the musical notation within the episode leads to a new understanding of Leopold Bloom in relation to his wife, Molly. INDEX WORDS: James Joyce, Music and Literature, Counterpoint “TWO NOTES IN ONE THERE”: COUNTERPOINT AS PARADIGM IN JAMES JOYCE’S ULYSSES by FRANCES VICTORIA LOVELACE BA, University of Warwick, UK, 2005 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2012 © 2012 Frances Victoria Lovelace All Rights Reserved “TWO NOTES IN ONE THERE”: COUNTERPOINT AS PARADIGM IN JAMES JOYCE’S ULYSSES by FRANCES VICTORIA LOVELACE Major Professor: Adam Parkes Committee: Aidan Wasley Elizabeth Kraft Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 DEDICATION This thesis is dedicated with grateful thanks for all the support to my family and friends, especially Layne, Rowland, Maggie, Angela, Kalpen, Jamie, Katherine, and Christine.
    [Show full text]
  • The Aftermath of Famine: Food and Identity in Ulysses
    The Aftermath of Famine: Food and Identity in Ulysses Eleanor Hughes ‘Eating is a fundamental activity. It is more or less the first thing we do, the primary source of pleasure and frustration, the arena of our earliest education and enculturation. Food is our centre, necessary for survival and inextricably connected with social function’.1 Ulysses is James Joyce’s epic attempt to capture the essence of human experience. Food, as Sceats notes, is the centre of this experience: literally and figuratively the source of life, essential for survival and intrinsically linked to those who ingest it. As a novel intensely rooted in its context, suffused with the political, social, economic and cultural concerns of 1904 Dublin, Ulysses recognises the integral role food plays in society. Joyce’s mealtimes are intrinsic to his recreation of seemingly banal everyday routine, providing a valuable insight into the attitudes and identities of those who consume it. The language of food is not only essential to Ulysses, but to Ireland. Just half a century before the publication of this now infamous text, the Great Famine of 1846-1851 permanently reshaped the political and cultural landscape of Ireland. Originating from a blight on the potato, an Irish food staple and national symbol, the famine led to increased colonial opposition as nationalists argued the disaster was largely ignored by the British government, who continued to export Irish produce and enforce taxes. Consequently, the understanding of famine as a symbol for English oppression politicises mealtimes throughout Ulysses; the excess of food is an English luxury, and starvation a metaphor for the damaging repercussions of colonial behaviour.
    [Show full text]
  • Family Activities Sandymount a Beautiful Seaside Residential Suburb Just a Short Drive from the Hotel
    Tel: +353 (0)1 6681111 Web: www.claytonhotels.com Family Activities Sandymount A beautiful seaside residential suburb just a short drive from the Hotel. It is known for its long, breezy beach at Sandymount Strand, overlooked by a 19th- century Martello tower built for coastal defence. It’s a popular spot for fishing, kayaking, and weekend walks with views across Dublin Bay, also drawing crowds for summer swims in the Irish Sea. Inland, the village has upscale boutiques, delis, and gastropubs serving local oysters and mussels. DunLaoghaire This seaside town and a popular destination for locals and tourists alike. Ireland’s first ever railway connected the town to Dublin. Wonderfully located on the glistening south coast of Dublin bay, it can be reached by car or public transport. The local DART Station is only a 5-minute walk, or should you wish to drive – it is a 15-minute drive. Walk along the famous 2.6km East Pier all the way to the lighthouse. The pier has featured in films such as Michael Collins (1996) and Sing Street (2016). Enjoy traditional fish & chips with the family or grab an ice-cream and chose a romantic stroll instead. Bray This is a popular seaside resort, situated 21km from Dublin City centre. It is an ideal place to visit because of its proximity to both Dublin and the sites in Wicklow. Bray is the longest established seaside town in Ireland and enjoys a mile long beachfront promenade. Enjoy a leisurely stroll along the beach and scenic walks on Bray Head. Two of the highlights in the area are Kilruddery House & Gardens, one of Irelands great houses and National Sea Life Centre, an all-weather marine and freshwater zoo.
    [Show full text]
  • Public Art in Parks Draft 28 03 14.Indd
    Art in Parks A Guide to Sculpture in Dublin City Council Parks 2014 DUBLIN CITY COUNCIL We wish to thank all those who contributed material for this guide Prepared by the Arts Office and Parks and Landscape Services of the Culture, Recreation and Amenity Department Special thanks to: Emma Fallon Hayley Farrell Roisin Byrne William Burke For enquiries in relation to this guide please contact the Arts Office or Parks and Landscape Services Phone: (01) 222 2222 Email: [email protected] [email protected] VERSION 1 2014 1 Contents Map of Parks and Public Art 3 Introduction 5 1. Merrion Square Park 6 2. Pearse Square Park 14 3. St. Patrick’s Park 15 4. Peace Park 17 5. St. Catherine’s Park 18 6. Croppies Memorial Park 19 7. Wolfe Tone Park 20 8. St. Michan’s Park 21 9. Blessington Street Basin 22 10. Blessington Street Park 23 11. The Mater Plot 24 12. Sean Moore Park 25 13. Sandymount Promenade 26 14. Sandymount Green 27 15. Herbert Park 28 16. Ranelagh Gardens 29 17. Fairview Park 30 18. Clontarf Promenade 31 19. St. Anne’s Park 32 20. Father Collin’s Park 33 21. Stardust Memorial Park 34 22. Balcurris Park 35 2 20 Map of Parks and Public Art 20 22 21 22 21 19 19 17 18 10 17 10 18 11 11 9 9 8 6 7 8 6 7 2 2 5 4 5 4 1 3 12 1 3 12 14 14 15 13 16 13 16 15 3 20 Map of Parks and Public Art 20 22 21 22 21 19 19 1 Merrion Square Park 2 Pearse Square Park 17 18 St.
    [Show full text]
  • Joyce's Dublin
    1 James Joyce Centre Mater Misericordiae NORTH CIRCULAR ROAD 2 Belvedere College Hospital A MAP OF 1904 MAP OF 3 St George’s Church 4 7 Eccles St BELVEDERE PLACE ROAD ECCLES STREET 5 Glasnevin Cemetery 6 Gresham Hotel R.C.Ch Joyce’sRICHMOND PLACE 7 The Joyce Statue 4 8 O’ConnellCharleville Bridge Mall 3 Free 9 Night Town Ch. Dublin St. George’s 10 Cabman’s shelter Nelson St. STREET Church Upr. Rutland St. 11 North Wall Quay BLESSINGTON STREET 12 Clarence St. Temple St. PORTLAND Sweny’s ROW Chemist PHIBSBOROUGH 13 The National Maternity MOUNTJOY SQUARE Hospital D O R S E T Wellington St. 14 Finn’s Hotel BUCKINGHAM FREDERICK STREET 2 ERHILL 15 The National Library Hardwicke St. Hill St. 16 Davy Byrnes T MID. GARDIN E 17 UCD Newman House E Nth.Gt.George’s St. SUMM R STREET 18 The Volta Cinema T Grenville St. S 19 Barney Kiernan’s Pub Y GREAT DENMARK STREET O 20 Ormond Hotel J STREET T CAVENDISH ROW 1 Empress Place N E R S T. 21 The Dead House L B R O A D S T O N E U L 22 Sandymount Strand S T A T I O N I DOMINICKO 19 H M Cumberland St. 23 Sandycove Tower SEVILLE PLACE N G R A N B Y R O W O 24 The School I T RUTLAND NORTH STRAND Oriel St. MARLBOROUGH ST. Tramlines in 1904 U Granby Lane SQUARE LWR. GARDINER ST. T GLOUCESTER STREET I Henrietta St. STREET T Rotunda TYRONE STREET S M A B B O T S T.
    [Show full text]