Dubliners I Booklet
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Dubliners I Booklet
James Joyce Dubliners CLASSIC Read by Jim Norton FICTION MODERN UNABRIDGED CLASSICS NAX31312D Dubliners Part I The Sisters 1 There was no hope for him this time: it was the third stroke. 6:49 2 The next morning after breakfast,… 4:36 3 In the evening my aunt took me with her… 9:58 An Encounter 4 It was Joe Dillon who introduced the Wild West to us. 3:41 5 The summer holidays were near at hand… 6:39 6 There was nobody but ourselves in the field. 8:06 Araby 7 North Richmond Street, being blind, was a quiet street… 8:26 8 On Saturday morning… 6:46 Eveline 9 She sat at the window watching the evening invade the avenue. 8:58 10 She stood among the swaying crowd in the station at the North Wall. 2:43 2 After the Race 11 The cars came scudding in towards Dublin,… 9:33 12 That night the city wore the mask of a capital. 2:15 13 Cards! Cards! The table was cleared. 2:32 Two Gallants 14 The grey warm evening of August had descended upon the city,… 5:25 15 Lenehan offered his friend a cigarette. 3:44 16 They walked along Nassau Street and then turned into Kildare Street. 4:55 17 He walked listlessly round Stephen’s Green… 5:15 18 His mind became active again. 3:34 The Boarding House 19 Mrs Mooney was a butcher’s daughter. 7:50 20 There must be reparation made in such a case. 7:49 21 Polly sat for a little time on the side of the bed, crying. -
Ulysses: Stephen's Parable of the Plums
Colby Quarterly Volume 28 Issue 1 March Article 3 March 1992 Ulysses: Stephen's Parable of the Plums Robert Frumkin Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 28, no.1, March 1992, p. 5-18 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Frumkin: Ulysses: Stephen's Parable of the Plums Ulysses: Stephen's Parable of the Plums by ROB E RTF RUM KIN Though they didn't see eye to eye in everything, a certain analogy there somehow was, as if both their minds were travelling. so to speak. in the one train ofthought. He gets the plums and I the plumstones. The ParabLe and the Lapsarian Meeting of Stephen and Bloom ye 0 M PAR 1 N G Bloom's response to Stephen's Parable of the Plums in B "Ithaca" to the responses ofthe newsmen in "lEolus," I hope to show that a momentary meeting of minds, if a "falJen," in1perfect one, occurs between '·father" and "son" in the ·'Ithaca" chapter and that Stephen perceives this closeness in Bloom's response to his parable. Stephen is uncomfortable with the closeness and does not seem to want to be understood, which explains why he sings the "Jew's Daughter" ballad. His acceptance or rejection of Bloom's hospitality is moot in my reading, since Bloom and Stephen have already been reunited as much as one can be in the fallen world (as reunited as a lapsarian Odysseus can be with Telemachos in a lapsarian Odyssey). -
Joyce's Dubliners and Hemingway's in Our Time
37q i 0 JOYCE'S DUBLINERS AND HEMINGWAY'S IN OUR TIME: A CORRELATION THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Kim Martin Mayo, B. A. Denton, Texas December, 1986 Mayo, Kim M., Joyze's Dubliners and Hemingway's In Our Time: A Correlation. Master of Arts (English), December, 1986. 109 pp., works cited, 50 titles. One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found in their methods of organization, handling of point of view, attitudes toward their subjects, stylistic techniques, and modes of writing, one is continually brought back to the differences between Joyce and Hemingway in each of these areas. For it is their differences that make these artists important; how each author chose to develop his craft gives him a significant place in literature. Copyright by Kim Martin Mayo 1986 TABLE OF CONTENTS Chapter Page I. INTRODUCTION---ESTABLISHING THE SIMILARITIES . .1 II. ORGANIZATION AND UNITY.. ... 8 III. POINT OF VIEW . 0.v.. .......... .27 IV. SUBJECT, STRUCTURE, AND SYMBOLISM. -
Mapping Dublin in James Joyce's
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue e Letterature Europee e Americane Classe LM-37 Tesi di Laurea Mapping Dublin in James Joyce’s ‘Dubliners’. Dublin, a Static and Timeless Environment: a Text Narrative Relatore Laureanda Prof. Francesco Giacobelli Chiara Salvagno n° matr.1034872 / LMLLA Anno Accademico 2012/ 2013 CONTENTS ACKNOWLEDGMENTS..............................................................................................p. iii ABBREVIATIONS.........................................................................................................p. iv INTRODUCTION.....................................................................................................pp. v-xi CHAPTER ONE I. DUBLINERS’ STRUCTURE: LOOKING AT THE MAP.....................................pp. 1-2 I.1. Childhood: ‘The Sisters’, ‘An Encounter’, ‘Araby’.................................pp. 2-6 I.2. Adolescence: ‘Eveline’, ‘After the Race’, ‘Two Gallants’, ‘The Boarding House’...........................................................................................................pp. 6-10 I.3. Maturity: ‘A Little Cloud’, ‘Counterparts’, ‘Clay’, ‘A Painful Case’..pp. 11-17 I.4. Public Life: ‘Ivy Day in the Committee Room’, ‘A Mother’, ‘Grace’..pp.17-19 I.5. ‘The Dead’............................................................................................pp. 19-20 CHAPTER TWO II. MOTIFS....................................................................................................................p. -
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring English Translation
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring Felix Mendelssohn-Bartholdy (1809-1847) English Translation: William Bartholomew PART ONE The Biblical tale of Elijah dates from c. 800 BCE. "In fact I imagined Elijah as a real prophet The core narrative is found in the Book of Kings through and through, of the kind we could (I and II), with minor references elsewhere in really do with today: Strong, zealous and, yes, the Hebrew Bible. The Haggadah supplements even bad-tempered, angry and brooding — in the scriptural account with a number of colorful contrast to the riff-raff, whether of the court or legends about the prophet’s life and works. the people, and indeed in contrast to almost the After Moses, Abraham and David, Elijah is the whole world — and yet borne aloft as if on Old Testament character mentioned most in the angels' wings." – Felix Mendelssohn, 1838 (letter New Testament. The Qu’uran also numbers to Julius Schubring, Elijah’s librettist) Elijah (Ilyas) among the major prophets of Islam. Elijah’s name is commonly translated to mean “Yahweh is my God.” PROLOGUE: Elijah’s Curse Introduction: Recitative — Elijah Elijah materializes before Ahab, king of the Four dark-hued chords spring out of nowhere, As God the Lord of Israel liveth, before Israelites, to deliver a bitter curse: Three years of grippingly setting the stage for confrontation.1 whom I stand: There shall not be dew drought as punishment for the apostasy of Ahab With the opening sentence, Mendelssohn nor rain these years, but according to and his court. The prophet’s appearance is a introduces two major musical motives that will my word. -
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. -
Creating Literary Analysis
Creating Literary Analysis v. 1.0 This is the book Creating Literary Analysis (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book. Normally, the author and publisher would be credited here. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Additionally, per the publisher's request, their name has been removed in some passages. More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header). For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/). You can browse or download additional books there. ii Table of Contents About the Authors................................................................................................................. 1 Acknowledgments................................................................................................................. 2 Dedications............................................................................................................................ -
Epiphanies in Dubliners
Epiphanies in Dubliners Epiphanies in Dubliners* Takashi Suzuki Epiphanies appear in Dubliners in various ways. Some stories present them directly. These epipha- nies are apparent to every reader. One of these is in “After the Race”. Jimmy Doyle is a son of the successful father who is called a merchant prince by the Dublin newspapers. Jimmy is a spoiled youth who has money and is popular but of no particular talent. He is very excited, sitting in a car that a wealthy Frenchman drives with his companions through the cheers of spectators. He has joined the Frenchman’s company without no reason. Jimmy takes this car race as the opportunity to deepen his relationship with the Frenchman from mere acquaintance to friendship. The Frenchman is reputed to own some of the biggest hotels in France, and is about to start motor business in Paris. Jimmy is going to “stake”(47)1 the greater part of his money on the Frenchman’s venture, and the Frenchman gives him the impression that the investment is made possible by a favour of friendship. The idea of this investment is initiated by his father’s suggestion. Therefore Jimmy and his father treat them in a very friendly and hospitable manner. But this design leads Jimmy to a fatal card game, and he loses more than he can afford: He knew that he would regret it in the morning, but at present he was glad of the rest, glad of the dark stupor that would cover up his folly. He leaned his elbows on the table and rested his head between his hands, counting the beats of his temples. -
Dubliners by JAMES JOYCE
Dubliners BY JAMES JOYCE P RESTWICK H OUSE L ITERARY T OUC H STONE C L ASSICS TM P. O . B O X 6 5 8 • C LAY to N , D ELAWARE 1 9 9 3 8 SENIOR EDITOR: Paul Moliken EDITORS: James Scott and Lisa M. Miller COVER DESIGN: Kelly Valentine Vasami PRODUCTION: Jerry Clark P RESTWICK H OUSE L ITERARY T OUC H STONE C L ASSICS P. O . B O X 6 5 8 • C LAY to N , D ELAWARE 1 9 9 3 8 T EL : 1.800.932.4593 F AX : 1.888.718.9333 W E B : www.prestwickhouse.com Prestwick House Teaching UnitsTM, Activity PacksTM, and Response JournalsTM are the perfect complement for these editions. To purchase teaching resources for this book, visit www.prest- wickhouse.com/material This Prestwick House edition is an unabridged republication with slight emendations of Dubliners, published in 1914. ©2006 All new material is copyrighted by Prestwick House, Inc. All rights reserved. No portion may be reproduced without permission in writing from the publisher. Printed in the United States of America. ISBN-10 1-58049-165-0 ISBN-13 978-1-58049-165-5 Dubliners BY JAMES JOYCE C O N T EN T S NOTES ...........................................................................4 READING POINTERS FOR SHARPER INSIGHTS .....................6 THE SISTERS ..................................................................9 AN ENCOUNTER ...........................................................17 ARABY .........................................................................25 EVELINE ......................................................................31 AFTER THE RACE ..........................................................35 -
Spiritual Paralysis and Epiphany: James Joyce's “Eveline”
Gaziantep Üniversitesi Sosyal Bilimler Dergisi (http://sbe.gantep.edu.tr) 2012 11(2):587 -600 ISSN: 1303-0094 Spiritual Paralysis and Epiphany: James Joyce’s “Eveline” and “The Boarding House” “James Joyce’un ‘Eveline’ ve ‘The Boarding House’ adlı Hikayelerindeki Ruhsal Çöküntü ve Epifani” Zennure Köseman Inönü University Abstract This article intends to highlight James Joyce’s ironical outlook for the existence of epiphanies in women’s lives to be released from their spiritual paralysis and stagnation as indicated in “Eveline” (1904) and “The Boarding House” (1906) in Dubliners. In “Eveline” and “The Boarding House,” Joyce portrays women who are in a struggle for setting aside the inequalities and miseries of their social environment through their representative wish for emancipation in their lonely and alienated state of minds. Trapped in a web of social expectations and constraints, women intend to escape from the strict patriarchal society of Dublin in these short stories. Structured and controlled by the issue of femininity, James Joyce writes about the effects of the Irish society on female adolescents. “Eveline” and “The Boarding House” offer two portrayals of women who are enclosed by the dominance of the rigid patriarchal society which ends up the need for emancipation from social rigid rules. In these stories, however, the women characters portray a continuation of the choice of their domestic female roles, i.e., their struggle for emancipation turns out to be useless. "Eveline" is the story of a young teenager who faces a dilemma where she has to choose either she has to live with her father or escape with his boyfriend. -
THE THEME of CLASS in JAMES JOYCE's DUBLINERS by David
THE THEME OF CLASS IN JAMES JOYCE'S DUBLINERS by David Glyndwr Clee B.A., University of British Columbia, 1963 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May, 1965 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission. Department of FJlglish The University of British Columbia Vancouver 8, Canada Date June k, 1965 ABSTRACT There is evidence throughout the stories, and in Joyce's letters, to show that Dubliners should be considered as a single entity rather than as a series of unconnected short stories. This thesis examines Joyce's presentation of Dublin's middle class as a unifying principle underlying the whole work. Joyce believed that his city was in the grip of a life-denying "paralysis", and this thesis studies his attempt in Dubliners to relate that paralysis to those attitudes towards experience which his Dubliners hold in c ommon. The stories in Dubliners are grouped to form a progression from childhood through adolescence to maturity and public life. -
The Boarding House'
The Literary Semiotics of Verbal Irony: The Example of Joyce's 'The Boarding House' LINDA HUTCHEON McMaster University SHARON A. BUTLER Goldsmiths' College In classical rhetoric, irony figured, along with metaphor, metonymy and syneedoche, as one of the four principal tropes. However, the historical fate of irony in English literary criticism since then has been a bizarre one. In English (and also German) speaking nations in particular, its primary dictionary meaning (a figure of speech in which the intended meaning is the opposite of that expressed by the words used) became transferred to that figurative sense in which one speaks of cosmic irony, the irony of fate - in other words, to an attitude of the modern mind as it interprets man's role in the universe. Irony then became the domain of the philosopher (Kierkegaard), the psychoanalyst (Freud's studies on jokes), or the ideologue for, like parody, irony can be seen as an 'elitist' form of literature. Lately, however, things have been changing. In the last ten years there have been a number of extended attempts to reconcile irony as a formal mode of literary discourse with irony as a world view: witness Wayne Booth's 1974 The Rhetoric of Irony, following D. Muecke's The Compass of Irony (1969). As recently as December 1980 the Modern Language Association of America devoted a session of its convention to the function of literary irony, signaling perhaps a reappropriation of the trope by modern English criticism. In semiotics too, the revaluation of irony has begun. There have been special issues on this topic of both Poetique (No.