Letters to James Joyce
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Early Sources for Joyce and the New Physics: the “Wandering Rocks” Manuscript, Dora Marsden, and Magazine Culture
GENETIC JOYCE STUDIES – Issue 9 (Spring 2009) Early Sources for Joyce and the New Physics: the “Wandering Rocks” Manuscript, Dora Marsden, and Magazine Culture Jeff Drouin The bases of our physics seemed to have been put in permanently and for all time. But these bases dissolve! The hour accordingly has struck when our conceptions of physics must necessarily be overhauled. And not only these of physics. There must also ensue a reissuing of all the fundamental values. The entire question of knowledge, truth, and reality must come up for reassessment. Obviously, therefore, a new opportunity has been born for philosophy, for if there is a theory of knowledge which can support itself the effective time for its affirmation is now when all that dead weight of preconception, so overwhelming in Berkeley's time, is relieved by a transmuting sense of instability and self-mistrust appearing in those preconceptions themselves. — Dora Marsden, “Philosophy: The Science of Signs XV (continued)—Two Rival Formulas,” The Egoist (April 1918): 51. There is a substantial body of scholarship comparing James Joyce's later work with branches of contemporary physics such as the relativity theories, quantum mechanics, and wave-particle duality. Most of these studies focus on Finnegans Wake1, since it contains numerous references to Albert Einstein and also embodies the space and time debate of the mid-1920s between Joyce, Wyndham Lewis and Ezra Pound. There is also a fair amount of scholarship on Ulysses and physics2, which tends to compare the novel's metaphysics with those of Einstein's theories or to address the scientific content of the “Ithaca” episode. -
Ulysses in Paradise: Joyce's Dialogues with Milton by RENATA D. MEINTS ADAIL a Thesis Submitted to the University of Birmingh
Ulysses in Paradise: Joyce’s Dialogues with Milton by RENATA D. MEINTS ADAIL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY English Studies School of English, Drama, American & Canadian Studies College of Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers the imbrications created by James Joyce in his writing with the work of John Milton, through allusions, references and verbal echoes. These imbrications are analysed in light of the concept of ‘presence’, based on theories of intertextuality variously proposed by John Shawcross, Hans Ulrich Gumbrecht, and Eelco Runia. My analysis also deploys Gumbrecht’s concept of stimmung in order to explain how Joyce incorporates a Miltonic ‘atmosphere’ that pervades and enriches his characters and plot. By using a chronological approach, I show the subtlety of Milton’s presence in Joyce’s writing and Joyce’s strategy of weaving it into the ‘fabric’ of his works, from slight verbal echoes in Joyce’s early collection of poems, Chamber Music, to a culminating mass of Miltonic references and allusions in the multilingual Finnegans Wake. -
Walking, Witnessing, Mapping: an Interview with Iain Sinclair David Cooper and Les Roberts Les Roberts (LR): in Lights out for T
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Walking, Witnessing, Mapping: An Interview with Iain Sinclair David Cooper and Les Roberts Les Roberts (LR): In Lights Out for the Territory (2003: 142) you write: ‘We have to recognise the fundamental untrustworthiness of maps: they are always pressure group publications. They represent special pleading on behalf of some quango with a subversive agenda, something to sell. Maps are a futile compromise between information and knowledge. They require a powerful dose of fiction to bring them to life.’ In what ways do maps and mapping practices inform your work as a writer? Iain Sinclair (IS): What I’ve done from the start, I think, has been to try, linguistically, to create maps: my purpose, my point, has always been to create a map of somewhere by which I would know not only myself but a landscape and a place. When I call it a ‘map’, it is a very generalised form of a scrapbook or a cabinet of curiosities that includes written texts and a lot of photographs. I have what could be a map of the world made entirely of these hundreds and hundreds of snapshots that aren’t aesthetically wonderful, necessarily, but are a kind of logging of information, seeing the same things over and over again and creating plural maps that exist in all kinds of times and at the same time. It’s not a sense of a map that wants to sell something or to present a particular agenda of any kind; it’s a series of structures that don’t really take on any other form of description. -
Harriet Shaw Weaver, Born in Frodsham in 1876, Was the Granddaughter of Edward Abbott Wright of Castle Park
Harriet in 1907 HARRIET SHAW WEAVER 1876 - 1961 Suffragist and ‘Extraordinary Woman’ Harriet Shaw Weaver, born in Frodsham in 1876, was the granddaughter of Edward Abbott Wright of Castle Park. In her time, she was both an important literary figure and a staunch supporter of women’s rights. Although Harriet was brought up in a wealthy family, she nevertheless became an active supporter of the women’s suffrage movement and eventually a member of the Communist Party. Amongst her literary circle were James Joyce, T. S. Eliot (who dedicated Selected Letters to her), Wyndham Lewis, Richard Aldington and Jean Cocteau. In 2011, Jamie Bruce Lockhart, a great nephew of Harriet Shaw Weaver, contacted Frodsham and District History Society for information on the family’s connections with Frodsham. His subsequent correspondence with the History Society’s archivist, Kath Hewitt, has provided fascinating insight into the family in which Harriet grew up and much of the information given here has resulted from this correspondence. In his book relating the story of his Cheshire relatives, Jamie fondly refers to Harriet as ‘Aunt Hat’. Early days Harriet Shaw Weaver was born at East Bank (now Fraser House), Bridge Lane, Frodsham on 1 September 1876. Her parents were Dr Frederick Poynton Weaver, and Edward Abbott Wright’s daughter, Mary Berry Wright. The Wrights had lived at Castle Park since 1861. Dr Weaver purchased East Bank in 1869 with its garden and a piece of land between the road and the railway on the opposite side of the road, plus a further piece of land beyond the railway. -
“Sirens” Episode of James Joyce's Ulysses
Wiesenmayer, Theodóra angolPark Fugal form and polyphony in the “Sirens” episode of seas3.elte.hu/angolpark James Joyce’s Ulysses © Theodóra Wiesenmayer, ELTE BTK: seas3.elte.hu/angolpark Teodóra Wiesenmayer: Fugal form and polyphony in the “Sirens” episode of James Joyce’s Ulysses . Introduction The emergence of monumental orchestral music in the 19th century resulted in its growing influence upon literary works. Music started to be highly valued because it could express feelings in an undistorted manner. Due to the development of psychoanalytic theories the main concern of the modernist writers was to convey the workings of the human mind. Since the focus of novels shifted from describing outer realities to expressing inner states of mind, language needed to be freed from its semantic rigidity, imitating the natural flow of music (Aronson 20–22). Apart from equating the interior monologue with musical expression (Aronson 22), there was another feature borrowed from music. The departure from traditional storytelling, the impressionistic expression of human thoughts required a shape, which could be borrowed from music. The application of musical forms in order to give a shape to the narrative reached its peak in the “Sirens” episode of Ulysses. This musical frame is part of a larger, mythical frame. While the musical frame makes the “Sirens” episode coherent, the intertextual background of Homer’s Odyssey provides the whole novel’s unity, which “is simply a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history” (Eliot 177). This paper deals with the musical structure of the “Sirens” episode, trying to determine its exact form, and to find the reason why Joyce resorted to that specific form. -
Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce Robert Spoo
University of Tulsa College of Law TU Law Digital Commons Articles, Chapters in Books and Other Contributions to Scholarly Works 1995 Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce Robert Spoo Follow this and additional works at: http://digitalcommons.law.utulsa.edu/fac_pub Part of the Law Commons Recommended Citation 32 James Joyce Q. 533-81 (1995). This Article is brought to you for free and open access by TU Law Digital Commons. It has been accepted for inclusion in Articles, Chapters in Books and Other Contributions to Scholarly Works by an authorized administrator of TU Law Digital Commons. For more information, please contact [email protected]. Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce Robert Spoo University of Tulsa According to my computation, 198 letters between Ezra so come Pound and James Joyce have far to light. Excluding or letters to by family members (as when Joyce had Nora write for him during his iUnesses), I count 103 letters by Joyce to Pound, 26 of which have been pubUshed, and 95 letters by Pound to Joyce, 75 of which have been published. These numbers should give some idea of the service that Forrest Read performed nearly thirty years ago in collecting and pubUshing the letters of Pound to Joyce,1 and make vividly clear also how poorly represented in print Joyce's side of the correspondence is. Given the present policy of the Estate of James Joyce, we cannot expect to see this imbalance rectified any time soon, but Iwould remind readers that the bulk of Joyce's un pubUshed letters to Pound may be examined at Yale University's Beinecke Library. -
Thesis-1996D-B786j.Pdf (6.977Mb)
JAMES JOYCE AND THE DARWINIAN IMAGINATION By PAUL ALAN BOWERS Bachelor of Arts The University of Tulsa Tulsa, Oklahoma 1985 Master of Arts Oklahoma State University Stillwater, Oklahoma 1990 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY July, 1996 JAMES JOYCE AND THE DARWINIAN IMAGINATION Thesis Approved: I . I ---1 -. Lr*· Dean of the Graduate College ii ACKNOWLEDGEMENTS I wish to express my sincere gratitude to Dr. Edward P. Walkiewicz, not only for his invaluable intellectual contributions to this project, but also for his unwavering enthusiasm shown during our numerous conversations. Without his support, this study would never have come to fruition. I also extend my sincere thanks to the members of my doctoral committee, namely, Dr. Linda Austin, Dr. Doren Recker, Dr. Martin Wallen, and Dr. Elizabeth Grubgeld. To Elizabeth Grubgeld, I offer a special note of appreciation for her constant encouragement and kindness during my years at OSU. I would be remiss if I failed to acknowledge the support of certain individuals I have had the pleasure to study and work with over the last several years. To these friends and colleagues, I owe a great debt: Dr. Jeffrey Walker, Dr. Gordon Weaver, Dr. Al Learst, Dr. Darin Cozzens, Jules Emig, Shirley Bechtel, and Kim Marotta. Lastly, I acknowledge my indebtedness to my wife, Denise, who has endured much during the completion of this project, but always with perfect kindness iii TABLE OF CONTENTS Chapter Page INTRODUCTION: IN THE MOST LIKELY OF PLACES . -
This Item Is the Archived Peer-Reviewed Author-Version Of
This item is the archived peer-reviewed author-version of: A James Joyce digital library Reference: Van Hulle Dirk.- A James Joyce digital library European Joyce studies - ISSN 0923-9855 - 25(2016), p. 226-246 To cite this reference: http://hdl.handle.net/10067/1326940151162165141 Institutional repository IRUA This is the author’s version of an article published by Brill in the journal European Joyce Studies 25 (2016), pp. 226-246. Please refer to the published version for correct citation and content. For more information, see http://booksandjournals.brillonline.com/content/books/b9789004319622s016. 1 A JAMES JOYCE DIGITAL LIBRARY DIRK VAN HULLE When Raymonde Debray Genette coined the terms exogenesis and endogenesis in 1979,2 she was well aware of the artificiality of such a division, for – as Pierre-Marc de Biasi later emphasized when he redefined the terms3 – it is hard to separate what is external to a writing project and what is internal. According to a recent paradigm in cognitive philosophy, the same goes for the mind. In 1998, Andy Clark and David Chalmers illustrated their “extended mind” theory by means of an example that involved a notebook.4 The gist of the argument is that the mind is constituted in an even-handed way by both the brain and the environment; the brain’s contributions are not prioritized over those of the environment. Many Joyceans have intuitively been working with this hypothesis long before the extended mind theory was formulated. The Finnegans Wake notebooks are an excellent example. To paraphrase Louise Barrett,5 Joyce could not have written this book had he not borrowed all the brains that he could, distributed in pamphlets, encyclopedias, newspapers and books. -
Works of James Joyce
Guide to James Joyce holdings in the Rosenbach Museum & Library 14 May 2021 HISTORICAL NOTE Dr. A.S.W. Rosenbach was well known as a collector of English literature but is perhaps best known for owning Joyce’s original manuscript for Ulysses. Joyce had sold the manuscript shortly before the book was published in 1922, to John Quinn, an Irish American lawyer and collector who had defended the publishers of The Little Review when they were prosecuted for obscenity in 1920. Quinn sold the manuscript with many others from his collection in January 1924, and Dr. Rosenbach purchased it for $1,975, slightly below the reserve price of $2,000. Joyce attempted to buy back his manuscript, but Rosenbach refused to sell. Rosenbach did, however, offer to buy the corrected page proofs of Ulysses. Dr. Rosenbach and Joyce never met. Dr. Rosenbach also owned a handful of other Joyce works, including a first edition of Ulysses, given to him by the publisher and auctioneer Mitchell Kennerley in 1922, when it was still banned in the United States. All these objects are marked below with an asterisk (*). The Rosenbach has expanded these holdings considerably, and continues to collect works by and about Joyce. The guide is updated as new material is acquired. Objects acquired since 2014 are marked with a “+”. SCOPE & CONTENT This collections guide serves as an overview of the Joyce holdings, providing titles and call numbers. For complete catalog information and to view the materials in person, please make a research appointment and use the call number for reference. -
Joyce's Heirs
Joyce’s Heirs: Joyce’s Imprint on Recent Global Literatures Editor: Olga Fernández Vicente Co-editors: Mari Mar Boillos Pereira Richard Jorge Fernández Paulo Kortazar Billelabeitia CIP. Biblioteca Universitaria Joyce’s heirs [Recurso electrónico] : Joyce’s imprint recent global literatures / editor, Olga Fernández Vicente … [et al.]. – Datos. – Bilbao : Universidad del País Vasco / Euskal Herriko Unibertsitatea, Argital- pen Zerbitzua = Servicio Editorial, [2019]. 1 recurso en línea : PDF (167 p.) Modo de acceso: World Wide Web. ISBN: 978-84-9860-727-7. 1. Joyce, James,1882-1941 - Crítica e interpretación. I. Fernández Vicente, Olga, ed. (0.034)820JOYCE1.06 JOY Debekatuta dago liburu hau osorik edo partez kopiatzea, bai eta tratamendu tronikoz, mekanikoz, fotokopiaz, erregistroz edo beste edozein eratara, baldin eta copyrightaren jabeek ez badute horretarako baimena aldez aurretik eta idatziz eman. UPV/EHUko Euskara Zerbitzuak sustatua eta zuzendua, Euskarazko ikasmaterial- gintza sustatzeko deialdiren bitartez. Diseño de portada: Susana Jodra © Euskal Herriko Unibertsitateko Argitalpen Zerbitzua Servicio de Publicaciones de la Universidad del País Vasco ISBN: 978-84-9860-727-7 Foreword We would like to give special thanks to the research team in LAIDA Literatura eta Identitatea Ikerketa Taldea. Their contribution, which can be found in https://www.ehu. eus/es/web/laida/helburua, to the research in Basque literature in a bilingual context, the relationship between literature, gender and identity, and the construction of national identities has been, and is, a paramount example of expertise and dedication. The editors would also like to express their heartfelt thanks to Dr Jon Kortazar Uriarte, professor of Basque Literature at UPV/EHU and main researcher for the LAIDA team, for his invaluable help, without which this volume would have never been published. -
My Beloved Subjects, a New Era Is About to Dawn
JAMES JOYCE NEWESTLATTER THE NEWSLETTER OF THE INTERNATIONAL JAMES JOYCE FOUNDATION No. 123 EDITOR: MORRIS BEJA NOVEMBER 2016 President GEERT LERNOUT Antwerp, Belgium Vice President CLAIRE CULLETON MY BELOVED Kent, Ohio, U.S.A. Honorary Trustees MORRIS BEJA SUBJECTS, A NEW ERA Columbus, Ohio, U.S.A. FRITZ SENN Zürich, Switzerland THOMAS STALEY Austin, Texas, U.S.A. IS ABOUT TO DAWN Board of Trustees After twenty-seven years, the International James Joyce SCARLETT BARON London, England Foundation is leaving its headquarters at Ohio State University. VALERIE BÉNÉJAM Nantes, France As a matter of fact, it’s returning to its original home, the WILLIAM BROCKMAN State College, Pennsylvania, U.S.A. University of Tulsa, which it left—temporarily it turns out—in TIM CONLEY St. Catharines, Ontario, Canada 1989. With that change comes another: I’ve been Executive RONAN CROWLEY Passau, Germany Secretary of the Foundation for almost that long (since 1990), CLAIRE CULLETON Kent, Ohio, U.S.A. but I’ll be turning over that position to Sean Latham, who is also CATHERINE FLYNN Berkeley, California, U.S.A. at Tulsa. FINN FORDHAM Oxford, England The transition will, I’m confident, be a smooth one. For the ELLEN CAROL JONES Columbus, Ohio, U.S.A. time being, the usual business of the Foundation will continue to TERENCE KILLEEN Dublin, Ireland be handled at Ohio State, but by the end of the academic year SEBASTIAN D. G. KNOWLES (ex officio) the memberships, subscriptions, and other operations of the Columbus, Ohio, U.S.A. SEAN LATHAM (ex officio) Foundation will all be done out of Tulsa. -
James Joyce - Poems
Classic Poetry Series James Joyce - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive James Joyce(2 February 1882 – 13 January 1941) James Augustine Aloysius Joyce was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominently the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters. Joyce was born to a middle class family in Dublin, where he excelled as a student at the Jesuit schools Clongowes and Belvedere, then at University College Dublin. In his early twenties he emigrated permanently to continental Europe, living in Trieste, Paris and Zurich. Though most of his adult life was spent abroad, Joyce's fictional universe does not extend beyond Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, “For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world.