Joseph Strick to Serve As a Regents' Lecturer
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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~. -
James Joyce – Through Film
U3A Dunedin Charitable Trust A LEARNING OPTION FOR THE RETIRED Series 2 2015 James Joyce – Through Film Dates: Tuesday 2 June to 7 July Time: 10:00 – 12:00 noon Venue: Salmond College, Knox Street, North East Valley Enrolments for this course will be limited to 55 Course Fee: $40.00 Tea and Coffee provided Course Organiser: Alan Jackson (473 6947) Course Assistant: Rosemary Hudson (477 1068) …………………………………………………………………………………… You may apply to enrol in more than one course. If you wish to do so, you must indicate your choice preferences on the application form, and include payment of the appropriate fee(s). All applications must be received by noon on Wednesday 13 May and you may expect to receive a response to your application on or about 25 May. Any questions about this course after 25 May should be referred to Jane Higham, telephone 476 1848 or on email [email protected] Please note, that from the beginning of 2015, there is to be no recording, photographing or videoing at any session in any of the courses. Please keep this brochure as a reminder of venue, dates, and times for the courses for which you apply. JAMES JOYCE – THROUGH FILM 2 June James Joyce’s Dublin – a literary biography (50 min) This documentary is an exploration of Joyce’s native city of Dublin, discovering the influences and settings for his life and work. Interviewees include Robert Nicholson (curator of the James Joyce museum), David Norris (Trinity College lecturer and Chair of the James Joyce Cultural Centre) and Ken Monaghan (Joyce’s nephew). -
Shahrzad and the Persian Culture in James Joyce's Finnegans Wake
International Journal of Humanities and Social Science Vol. 3 No. 19; November 2013 Shahrzad and the Persian Culture in James Joyce’s Finnegans Wake: A Chaotic “nightmaze” Dr. Leila Baradaran Jamili Department of English Literature Islamic Azad University Boroujerd Branch, Iran Abstract Novelists illustrate that linear assumptions persistently impinge upon their understandings of the cosmos. Whereas the nonlinear, disordered and dynamic system of chaos, or chaosmos and complexity theories can provide different perceptions, experiences, and interpretations that match the diversity of reading, as James Joyce believes, they cannot touch the Cartesian spring. Chaos, as a scientific, post-Einsteinian, theory unites science, literature, and culture by using modern and postmodern methods of interpretation. This paper discovers some proper links between cosmos and chaos in Joyce’s Finnegans Wake (1939), argues the existing systems of order versus disorder and the unpredictability of reality. Joyce visualizes a very chaotic system or “nightmaze” by constructing his major characters and mapping them in the world of literature through random acts of storytelling in various languages. He creates a world in which the invisible borders of reality and fantasy merge in an odd unpredictable relationship. In the chaosmos outlined by Joyce, he reveals that Shahrzad, the central character of The Thousand and One Nights, is trapped in an unsystematized chaotic “nightmaze” that instead paves the way to remap her identity and keep her alive not simply in the Persian literature but rather in the modern and postmodern world literature. Key Words: Chaos, Chaosmos, Nonlinearity, Shahrzad, Nightmaze, Persian Culture 1. Introduction The novelists consider linear assumptions persistently impinging upon their perceptions of the cosmos. -
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. -
Ulysses: the Novel, the Author and the Translators
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 1, No. 1, pp. 21-27, January 2011 © 2011 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.1.1.21-27 Ulysses: The Novel, the Author and the Translators Qing Wang Shandong Jiaotong University, Jinan, China Email: [email protected] Abstract—A novel of kaleidoscopic styles, Ulysses best displays James Joyce’s creativity as a renowned modernist novelist. Joyce maneuvers freely the English language to express a deep hatred for religious hypocrisy and colonizing oppressions as well as a well-masked patriotism for his motherland. In this aspect Joyce shares some similarity with his Chinese translator Xiao Qian, also a prolific writer. Index Terms—style, translation, Ulysses, James Joyce, Xiao Qian I. INTRODUCTION James Joyce (1882-1941) is regarded as one of the most innovative novelists of the 20th century. For people who are interested in modernist novels, Ulysses is an enormous aesthetic achievement. Attridge (1990, p.1) asserts that the impact of Joyce‟s literary revolution was such that “far more people read Joyce than are aware of it”, and that few later novelists “have escaped its aftershock, even when they attempt to avoid Joycean paradigms and procedures.” Gillespie and Gillespie (2000, p.1) also agree that Ulysses is “a work of art rivaled by few authors in this or any century.” Ezra Pound was one of the first to recognize the gift in Joyce. He was convinced of the greatness of Ulysses no sooner than having just read the manuscript for the first part of the novel in 1917. -
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. -
The Ulysses & Emerson String Quartets
OUR 116TH SEASON OF FREE CLASSICAL MUSIC CONCERTS FOR THE PEOPLE OF NEW YORK PRESENTS THE ULYSSES & EMERSON STRING QUARTETS TUESDAY, JUNE 29, 2021 • 7:30PM The Historic Naumburg Bandshell on the Concert Ground of Central Park Our next concerts are on July 6 & 20 and August 3 Please visit NAUMBURGCONCERTS.ORG for more information on our series. ©Anonymous, 1930’s gouache drawing of Naumburg Orchestral of Naumburg Concert©Anonymous, 1930’s gouache drawing TUESDAY, JUNE 29, 2021 • 7:30PM In celebration of 116 years of Free Concerts for the people of New York City - The oldest continuous free outdoor concert series in the world Tonight’s concert is being hosted by classical WQXR - 105.9 FM www.wqxr.org with WQXR host Terrance McKnight NAUMBURG ORCHESTRAL CONCERTS PRESENTS THE ULYSSES & EMERSON STRING QUARTETS RICHARD STRAUSS, (1864-1949) Sextet from Capriccio, Op. 85, (1942) (performed by the Ulysses Quartet with Lawrence Dutton, viola and Paul Watkins, cello) ANTON BRUCKNER, (1824-1896) String Quintet in F major, WAB 112., (1878-79) Performed by the Emerson String Quartet with Colin Brookes, viola III. Adagio, G-flat major, common time -INTERMISSION- DMITRI SHOSTAKOVICH, (1906-1975) Two Pieces for String Octet, Op. 11, (1924-25) Performed with the Ulysses Quartet playing the first parts 1. Adagio 2. Allegro molto FELIX MENDELSSOHN, (1809-1847 Octet in E-flat major, Op. 20, (1825) 1. Allegro moderato ma con fuoco (E-flat major) 2. Andante (C minor) 3. Scherzo: Allegro leggierissimo (G minor) 4. Presto (E-flat major) The performance of The Ulysses and Emerson String Quartets has been made possible by a generous grant from The Arthur Loeb Foundation The summer season of 2021 honors the memory of our past President, MICHELLE R. -
A Shorter Finnegans Wake Ed. Anthony Burgess
Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. A SHORTER FINNE GANS WAKE ]AMES]OYCE EDITED BY ANTHONY BURGESS NEW YORK THE VIKING PRESS "<) I \J I Foreword ASKED to name the twenty prose-works of the twentieth century most likely to survive into the twenty-first, many informed book-lovers would feel constrained to· include James Joyce's Ulysses and Finnegans Wake. I say "constrained" advisedly, because the choice of these two would rarely be as spontaneous as the choice of, say, Proust's masterpiece or a novel by D. H. Lawrence or Thomas Mann. Ulysses and Finnegans Wake are highly idiosyncratic and "difficult" books, admired more often than read, when read rarely read through to the end, when read through to the end not often fully, or even partially, under stood. This, of course, is especially t-rue of Finnegans Wake. And yet there are people who not only claim to understand a great deal of these books but affirm great love for them-love of an intensity more commonly accorded to Shakespeare or Jane Austen or Dickens. -
National Gallery of Art
ADMISSION IS FREE DIRECTIONS 10:00 TO 5:00 National Gallery of Art Release Date: June 21, 2017 National Gallery of Art 2017 Summer Film Program Includes Washington Premieres, Special Appearances, New Restorations, Retrospectives, Tributes to Canada and to French Production House Gaumont, Discussions and Book Signings with Authors, and Collaboration with the Academy of Motion Picture Arts and Sciences Film still from The Savage Eye (Ben Maddow, Joseph Strick, and Sidney Meyers, 1959, 35mm, 68 minutes), to be shown at the National Gallery of Art on Saturday, September 9, at 4:00 p.m., as part of the film series From Vault to Screen: Recent Restorations from the Academy Film Archive. Image courtesy of Photofest. Washington, DC—The National Gallery of Art is pleased to announce that the 2017 summer film program will include more than 40 screenings: several Washington premieres; special appearances and events; new restorations of past masterworks; a salute to Canada; a special From Vault to Screen series; and a family documentary by Elissa Brown, daughter of J. Carter Brown, former director of the National Gallery of Art. Film highlights for the summer include the premiere of Albert Serra's acclaimed new narrative Death of Louis XIV. The seven-part series Saluting Canada at 150 honors the sesquicentennial of the Canadian Confederation. A six-part series, Cinéma de la révolution: America Films Eighteenth- Century France, offers a brief look at how Hollywood has interpreted the lavish culture and complex history of 18th-century France. The screening coincides with the summer exhibition America Collects Eighteenth-Century French Paining, on view in the West Building through August 20 (http://www.nga.gov/content/ngaweb/press/exh/3683.html). -
Dubliners and the Joycean Epiphany
DUBLINERS AND THE JOYCEAN EPIPHANY A Thesis by Roger T. Briggs B.A., Wichita State University, 2003 Submitted to the Department of English and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts May 2006 DUBLINERS AND THE JOYCEAN EPIPHANY I have examined the final copy of this Thesis for form and content and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in Literature. ____________________________________ Peter T. Zoller, Committee Chair We have read this Thesis and recommend its acceptance: ____________________________________ Christopher K. Brooks, Committee Member ____________________________________ Wilson Baldridge, Committee Member ii The Roman Catholic Church was an important and prominent aspect of Irish life in the early twentieth century. Where most of Western Europe had become secularized during the nineteenth century, Ireland remained steadfast in its faith, be it Roman Catholic or Protestant. However, at the time, more than ninety percent of the Irish population was Roman Catholic with the numbers of Protestants belonging to the Church of Ireland or Presbyterian and Methodist Churches falling from eight percent in the second half of the nineteenth century to less than three percent in 1981 (Inglis 63). As a result of the growth of the Roman Catholic Church, much of Irish politics and society was infused with starkly Catholic tones—so much that individual citizens and the nation as a whole began to understand their inherent identity through their association with the Roman Catholic faith (59). -
Dead Centre Written and Directed by Ben Kidd and Bush Moukarzel
Next Wave 2019 Brooklyn Academy of Music Adam E. Max, BAM Board Chair Katy Clark, President William I. Campbell and Nora Ann Wallace, David Binder, Artistic Director BAM Board Vice Chairs Hamnet Dead Centre Written and directed by Ben Kidd and Bush Moukarzel BAM Fishman Space Oct 30—Nov 2 at 7:30pm; Nov 3 at 3pm Running time: approx. one hour, no intermission Presented in association with Irish Arts Center Season Sponsor: Leadership support for BAM Access Programs provided by the Jerome L. Greene Foundation Leadership support for theater at BAM provided by The Fan Fox & Leslie R. Samuels Foundation, Inc.; The SHS Foundation; and The Shubert Foundation, Inc. Hamnet Aran Murphy. Photo: Ernesto Galan Aran Murphy. Hamnet Performed by Aran Murphy Text by Bush Moukarzel, Ben Kidd, and William Shakespeare Dramaturgy by Michael West Set design by Andrew Clancy Costume design by Grace O’Hara Lighting design by Stephen Dodd Sound design by Kevin Gleeson Video design by José Miguel Jiménez Choreography by Liv O’Donoghue Onstage effects and costume supervisor Eugenia Genunchi Stage manager Harriet Stewart Producer Aisling Ormonde American Stage Manager Meg McDonald Aran Murphy is appearing with the permission of Actors’ Equity Association. The American Stage Manager is a member of Actors’ Equity Association. Presented with support from Culture Ireland Hamnet “LITTLE IS KNOWN ABOUT HAMNET” Because again, however much Hamnet might —Wikipedia stand as a symbol, he also stands—or stood —as a little boy. He lived, and then he died. Hamnet Shakespeare lived and died. He We are so often told to deal with grief through was 11 years old. -
Reading the Margins of Joyce's Dubliners
Colby Quarterly Volume 18 Issue 2 June Article 6 June 1982 "Chronicles of Disorder": Reading the Margins of Joyce's Dubliners Joseph C. Voelker Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 18, no.2, June 1982, p.126-144 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. Voelker: "Chronicles of Disorder": Reading the Margins of Joyce's Dubliner "Chronicles of Disorder": Reading the Margins of Joyce's Dubliners by JOSEPH C. VOELKER lIKE Flaubert's Madame Bovary, Joyce's Dubliners is a book which L derives its power from ambivalence. Of the two writers, Joyce is perhaps the more generous, for while Flaubert could qualify his hatred only in the case of his heroine, Joyce found himself to be of two minds toward an entire city. All his life, Joyce oscillated between injured rage at the parochial closed-mindedness of Dublin and a grudging fondness for its inexplicable and unsteady joie de vivre. It is strange, therefore, that even sensitive readers of Dubliners have agreed to see a very singleminded Joyce lurking behind the realism of his narrative. Perhaps because of the shrillness of his letters at the time, we have come to envision the young Joyce as a nlalignant artist, crafting maledictory leitmotivs out of coffins, priests, books, and gold florins. In such a view, the book is a clinically detailed diagnosis of hemiplegia, and all conclusions concerning the quality of actions within its pages are necessarily foregone.