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Ulysses, Finnegans Wake, and Copyright UNLV Theses, Dissertations, Professional Papers, and Capstones 12-1-2012 Archiving Joyce & Joyce's Archive: Ulysses, Finnegans Wake, and Copyright Jessica Michelle Lucero University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Literature in English, British Isles Commons Repository Citation Lucero, Jessica Michelle, "Archiving Joyce & Joyce's Archive: Ulysses, Finnegans Wake, and Copyright" (2012). UNLV Theses, Dissertations, Professional Papers, and Capstones. 1751. http://dx.doi.org/10.34917/4332732 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ARCHIVING JOYCE AND JOYCE’S ARCHIVE: ULYSSES, FINNEGANS WAKE, AND COPYRIGHT By Jessica Michelle Lucero Bachelor of Arts and Sciences in English Mississippi State University 2001 Master of Arts in English University of Nevada, Las Vegas 2005 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy in English Department of English College of Liberal Arts The Graduate College University of Nevada, Las Vegas December 2012 THE GRADUATE COLLEGE We recommend the dissertation prepared under our supervision by Jessica Michelle Lucero entitled Archiving Joyce and Joyce’s Archive: Ulysses, Finnegans Wake, and Copyright be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Department of English Beth Rosenberg, Ph.D., Committee Chair Megan Becker-Leckrone, Ph.D., Committee Member Anne Stevens, Ph.D., Committee Member Kate Korgan, Ph.D., Graduate College Representative Tom Piechota, Ph.D., Interim Vice President for Research & Dean of the Graduate College December 2012 ii ABSTRACT “Archiving Joyce and Joyce’s Archive: Ulysses, Finnegans Wake, and Copyright” investigates the ways in which James Joyce’s Ulysses and Finnegans Wake incorporate archival institutions and archival modes such as gossip into its composition. For example, this work explores how both works, at times, present institutions such as the National Library of Ireland, and, at other times, enact archiving in its collection and preservation of historical personages relevant to Irish literature and history. Additionally, Joyce was involved in the construction of his own archive, and thereby becomes the curator of his own history as well as that of Ireland. Importantly, this work also considers how copyright law is inextricably linked to any discussion of archives. Copyright is a multi-faceted, ever-changing set of laws that differs from nation to nation and therefore complicates what both scholars and archivists can do with Joyce’s—or other modernist authors’—materials. Recent debates between Joyce scholars and his Estate make Joyce an excellent case-study for this discussion, and also ensure that this work is both relevant and important to anyone interested in copyright, archives, and modernist authors. iii ACKNOWLEDGEMENTS I’d like to offer my sincere gratitude to my dissertation committee, composed of Drs. Anne Stevens, Megan Becker-Leckrone, and Kate Hausbeck Korgan, I am eternally grateful to my dissertation advisor, Dr. Beth Rosenberg, who went above and beyond the call of duty to meet with me anytime I needed her—during weekends and over holidays; without her, this project would not be possible. I am beholden to my wonderful bosses at Black Mountain Institute: Dr. Carol C. Harter and Prof. Richard Wiley; their unwavering insistence on my completing this dissertation helped me make my deadlines. Thanks also to Maritza White, my confidant and fellow sushi-lover. The support of Suzanne Becker, Rebecca Boulton, Candace Griffith, Mark Salvaggio, and Jennifer Whitmer, aka the “Dissertation Support Group,” has likewise gotten me through all the ups-and-downs of the dissertation process. I would also like to acknowledge the following archives, whose materials and exhibitions have informed my research: The Poetry Center at the State University of New York at Buffalo, the National Library of Ireland, and the Dublin James Joyce Centre. Additionally, participating in the International James Joyce Symposium, North American James Joyce Conference, the Modernist Studies Association Conference, and the 2010 Dublin James Joyce Summer School helped to make this project what it is today. I am also thankful to Drs. Anne Fogarty, Luca Crispi, and Vincent Cheng, whose scholarship and advice at these conferences have inspired me. My thanks also to the Graduate & Professional Student Association, the English Department at UNLV as well as the Study Abroad Scholarship also at UNLV for supporting my travel to these conferences iv throughout the years. Additionally, I am thankful for the Marjorie Barrick Fellowship, which provided financial support during my research. Lastly, I would like to thank my friends and family. Many heartfelt thanks to Bliss Esposito Fattore, who first made me write my thesis statement in only one paragraph, and Ashley Embry Clark, who will always be my “Room” and whose poetry I love. I am eternally grateful to have found the love of my life, Dr. William Paul Miller, who has been my cheerleader and my light; his encouragement has kept me focused on the end- goal. Finally, I am beholden to my parents, Jay and Gabriele Lucero. I have read every chapter of this dissertation to them aloud, multiple times, and their feedback has been instrumental not only to the dissertation but throughout my entire academic career. I am truly the luckiest woman alive. v PREFACE As Jacques Derrida has written, we are possessed by “archive fever.” That is, there is an anxiety surrounding the collection and dissemination of archival materials. The term itself extends back to the ancient Greek term arkheion, which Derrida defines as “a house, a domicile, an address, the residence of the superior magistrates, the archons, those who commanded” (2). In other words, Derrida links the archive with both the public and private sphere; the magistrates or archons of Classical Greece made, interpreted, and kept public laws in their private homes, thereby blurring the boundary between the function and representation of the archive. The term “archive” today is recognized as an archival institution, which collects and preserves various materials deemed important to the testimony of the past. Thomas Richards’ Imperial Archives traces this history back to the age of exploration, when exploration made it necessary for large repositories to store all the artifacts collected from abroad; the industrial revolution exploded the possibilities for the collection and dissemination of this information. With the rise of nationalism in the late nineteenth and early twentieth century, these institutions changed again to present the past as a means of creating and sustaining a national identity. Furthermore, the rise in popularity of authors and other celebrity figures of the time instigated the donations of personal papers and manuscripts to both public and private repositories. Both private and public archives were threatened during the onslaught of World War I and, later, World War II. It was during this period that the modernist authors residing in Europe had to make difficult decisions about what to do with their personal papers and libraries in order to keep them safe. James Joyce was one such author; vi however, due to his financial circumstances and the constant moving he and his family did (even before the wars), Joyce was not in the position to have access to all of his most treasured materials; nor did he have the money necessary to ship his materials to other archival institutions. Joyce, however, was highly instrumental in influencing how his papers, notebooks, manuscripts, and books would be stored. With the help of his friends and family, many of Joyce’s works were locked in trunks and kept in their homes; public libraries and institutions around the world have these benefactors to thank for the donation or sale of Joyce materials. Given the importance of these collections to scholars and the heated debates over Joyce copyright and the purchase and sale of his collections, this history is important and relevant. Currently, the National Library of Ireland and the University at Buffalo are digitizing Joyce’s collections; the choice between limited or open access is also hotly contested. Additionally, Joyce’s works—like other works from authors of the modernist period—are currently falling out of copyright in most countries (Australia and the United Kingdom excluded). This re-emergence within the public domain comes at a unique time in history, where the current copyright laws in Europe, for instance, are still deciphering the latest addition to European copyright law. For all of these reasons, Joyce is an excellent case study for analyzing the construction and development of a larger modernist archive. The modern legal definitions of copyright laws and contracts issued between institutions purchasing the rights to private collections, and those who sell them, effects scholars who wish to work with these materials. Why, one might ask, would anyone sell materials to institutions that would keep them from the public? One reason is because the vii materials are deemed private—as with some of the Joyce papers, especially of letters sent by Joyce to his wife, Nora. In fact, Joyce’s archival collections—disbursed as they are throughout the world—have brought about quite a bit of controversy between a public’s right to know and the Estate’s call for privacy.
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