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Issue of Blake
BLAKE AN ILLUSTRATED QUARTERLY PBOCJLAllATION TIRED OF THE SPECTACLE OF SHORT STORIES, NOVELS, POEMS AND PLAYS STILL UNDER THE HEGEMONY OF THE BANAL WORD, MONO TONOUS SYNTAX, STATIC PSYCHOLOGY, DESCRIPTIVE NATURALISM, AND DESIROUS OF CRYSTALLIZING A VIEWPOINT ••• WE HEREBY DECLARE THAT : 1. THE REVOLUTION IN THE ENGLISH LANGUAGE IS AN AC COl\IPLISHED FA CT. 2. THE lllAGINATION IN SEARCH OF A FABULOUS WORLD IS AUTONOMOUS AND UNCONFINED. (Prudence is a rich, ugly old maid courted by Incapacity ... Blake) 3. PURE POETRY IS A LYRICAL ABSOLUTE THAT SEEKS AN A PRIORI BEAUTY WITHIN OURSELVES ALONE. (Bring oul number, weight and measure in a year of dearth ... ~lake) 4. NARRATIVE IS NOT .llERE ANECDOTE, BUT THE PROJEC TION OF A METAMORPHOSIS OF REALITY. (Enough I Or Too Much !... Blake) 6. THE EXPRESSION OF THESE CONCEPTS CL\lV BE ACHIEVED ONLY THROUGH THE RHYTHMIC " HALLUCINATION OF THE WORD ". (Rimbaud). 6. THE LITERARY CREATOR HAS THE RIGHT TO DISINTE GRATE THE PRIMAL llA'ITER OF WORDS IMPOSED ON HDI BY TEXT-BOOKS A.~D DICTIONARIES. (The road of excess leads to the palace of Wisdom ... Blake) 7. HE HAS THE RIGHT TO USE WORDS OF HIS OWN FASH IO~NG AND TO DISREGARD EXISTJNG GRAMMATICAL AND SYNTACTICAL LAWS. (The tigers of wrath are wiser lhan the horses of inslruclion ... Blake) 8. THE" LITANY OF WORDS" IS ADMI'ITED AS AN INDEPEN DE~T lJ-:\TIT. 9. WE ARE NOT CONCERNED WITH THE PROPAGATION OF SOCIOLOGICAL IDEAS, EXCEPT TO Ei\IANCJPATE THE CREATIVE El,E..\lEi"VTS FROl\I THE PRESENT IDEOLOGY. 10. TL\IE IS A TYRANNY TO BE ABOLISHED. -
Making the New: Literary Periodicals and the Construction of Modernism
Making the New: Literary Periodicals and the Construction of Modernism Peter Marks University of Sydney We are told that we live in a postmodernworld, experiencing unprecedented innovations, delights, and anxieties. Rather than rehearse these here, I want initially to touch brieflyon one theoretical attempt to make sense of this condition, one that definesPostmodernism in relation to its presumed antecedent, Modernism. I want to use this as a way of questioning the "monumental" view of literary Modernism, in which a massive landscape abounds with canonical texts carved by mythical giants: Joyce, Eliot, Woolf, Pound, Stein-the usual suspects. I do this by considering the role of literary periodicals in the construction, production, and initial reception of those texts. The later part of this discussion focuses on transition, the Paris-based journal of the 1920s and 1930s whose aspirations, pretensions, vigor and perilous existence typify the complex forces in play. I emphasize the point that while indi vidual periodicals consciously adopted distinct identities, they need to be understood collectively forthe vital functionsthey performed: they printed avant-garde work as well as advanced criticism and theory; acted as nurseries for experimental young writers, and as platformsfor the already-established; forged and maintained interna tional links between writers and groups; provided avant-garde writers with sophisti cated readers, and vice versa; and maintained an ipteractiveplurality of cultural dis course. Alive with the energy of experimentation, they register the fertile, complex, yet intriguingly tentative development of modem literature. In his inquisitive and provocative work, ThePostmodern Turn, lhab Hassan moves towards a concept of postmodernism by constructing a table of "certain schematic differences from modernism" (91). -
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. -
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. -
Durham E-Theses
Durham E-Theses Music and the word in the works of T.S. Eliot and James Joyce Hall, Julian How to cite: Hall, Julian (2004) Music and the word in the works of T.S. Eliot and James Joyce, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3737/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk MUSIC AND THE WORD IN THE WORKS OF T.S. ELIOT AND JAMES JOYCE A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. A thesis submitted in 2004 for the degree of PhD at the Department of English Studies, University of Durham. By J ulian Hall Abstract for Music and the word in the works of T.S. -
A Voz De Nora Barnacle
A VOZ DE NORA BARNACLE DIRCE WALTRICK DO AMARANTE egundo Brenda Maddox, biógrafa de Nora Barnacle, “Nora não tinha diário. O que poderia reconstruir sua personalidade S pertencia em grande parte a seu cunhado Stanislaus Joyce. Foi ele quem salvou, e sua viúva depois vendeu para Cornell, a ampla coleção de cartas privadas que revela quase tudo que se sabe sobre fatos da família de Nora, seu namoro e seu relacionamento com James Joyce”.1 Grande parte da correspondência entre o casal foi escrita apenas por Joyce, já que Nora não gostava de redigir cartas e só o fazia por necessidade. Não são raras as vezes em que Joyce, nas cartas à companheira, a chama de “caladinha”, “silenciosa” e implora que ela lhe escreva. As cartas de Joyce a Nora, reunidas neste volume, teriam, como todas as correspondências amorosas, de acordo com a tese de Roland Barthes, a seguinte característica: “eu falo e você me escuta, logo nós somos”,2 numa frase de Ponge, retomada pelo crítico francês. Portanto, prossegue Barthes,“o discurso amoroso sufoca o outro, que não encontra nenhum espaço para a sua própria palavra sob esse dizer maciço”.3 Ou seja, “o outro é desfigurado por seu mutismo, como naqueles sonhos pavorosos nos quais tal pessoa amada aparece com a parte inferior do rosto apagada, privada de boca; e eu que falo, sou também desfigurado: o solilóquio faz de mim um monstro, uma enorme língua.”4 Ao mesmo tempo, entretanto, como afirma o pensador italiano Giorgio Agamben, “só as palavras nos põem em contato com as coisas mudas”.5 Nesse aspecto, as cartas de Joyce dão visibilidade a Nora Barnacle, sua companheira de vida, nascida em Galway em 21 ou 22 (igreja e estado não estão de acordo 1 Maddox, Brenda. -
The Cea Forum 2013
Summer/Fall THE CEA FORUM 2013 Book Review Gordon Bowker, James Joyce: A New Biography New York: Farrar, Straus and Giroux, 2011. ($35.00) Lee Brewer Jones Georgia Perimeter College Online Regarding Gordon Bowker’s new James Joyce biography, one question immediately springs to mind: why? Herbert Gorman’s 1939 biography was authorized, and Richard Ellman’s 1959 work, although hoary, is still venerated. Bowker begins by acknowledging he must “stand on the shoulders of these and other books” (xi). Then, he asserts he “will attempt to go beyond the mere facts and tap into Joyce’s elusive consciousness” (8). Bowker’s biography, furthermore, “is informed by the belief that it is enlightening to view the work of a highly autobiographical writer like Joyce in the context of his life” (8). What Bowker does not state is that Gorman’s biography, overseen by the author himself, borders on hagiography. Ellman, too, labored at a time when members of Joyce’s family and some of his fiercest protectors survived. Both the passing of these individuals and the wealth of material discovered since Ellman revised his book in 1982 justify a writer with Bowker’s perspective reexamining the “riverrun” (5) that constitutes Joyce’s life and work. Bowker divides the 540 pages of James Joyce: A New Biography purely by chronology into 35 chapters, some covering only a few months of a capstone year, such as 1904. Each chapter receives its own title; one memorable choice is “Ulysses: Inside the Dismal Labyrinth 198 www.cea-web.org Summer/Fall THE CEA FORUM 2013 (1920 – 1921).” Writing in a straightforward style, Bowker plumbs both the shallows and the depths of the Liffey, the river that meanders throughout Joyce’s works even though he rarely saw it after 1904, when he was in his early twenties, and never at all after 1912. -
Nora's Filthy Words: Scatology in the Letters of James Joyce
11.Knowles.Final.qxd 3/28/2007 2:48 PM Page 1 The New School Psychology Bulletin Volume 4, No. 2, 2006 Nora's Filthy Words: Scatology in the Letters of James Joyce J. Mark Knowles, M.A.1 "The behavior of a human being in sexual matters is often a prototype for the whole of his other modes of reaction to life." Sigmund Freud "Civilized" Sexual Morality and Modern Nervousness (1908) "But, side by side and inside this spiritual love I have for you there is also a wild beast-like craving for every inch of your body, for every secret and shameful part of it, for every odour and act of it." James Joyce In a letter to Nora Barnacle dated December 2, 1909 The purpose of this analysis is to examine the ways in which the paraphilic sexual fantasies of James Joyce were expressed in his relationship with his common-law wife, Nora Barnacle. Although any definitive assertions regarding the inner workings of Joyce's 1: Department of Psychology, The New School for Social Research, New York, USA. Address correspondence to J. Mark Knowles: [email protected]. NSPB: 2006 - Vol. 4, No. 2 11.Knowles.Final.qxd 3/28/2007 2:48 PM Page 2 92 Scatology sexual being must be conjectural insofar as the empirical evi- dence for such claims is nonexistent, it is possible for us to for- mulate certain conceptualizations owing to the fact that Joyce himself left for posterity a vast compilation of his sexual fan- tasies in the form of a written correspondence with Nora while he was visiting Dublin and she was in Trieste during the latter half of 1909. -
Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R. -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
In Joyce's Dubliners
PARALYSIS AS “SPIRITUAL LIBERATION” IN JOYCE’S DUBLINERS Iven Lucas Heister, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: David Holdeman, Major Professor and Chair of the Department of English Masood Raja, Committee Member Stephanie Hawkins, Committee Member Mark Wardell, Dean of the Toulouse Graduate School Heister, Iven Lucas. Paralysis as “spiritual liberation” in Joyce’s Dubliners. Master of Arts (English), May 2014, 50 pp., references, 26 titles. In James Joyce criticism, and by implication Irish and modernist studies, the word paralysis has a very insular meaning. The word famously appears in the opening page of Dubliners, in “The Sisters,” which predated the collection’s 1914 publication by ten years, and in a letter to his publisher Grant Richards. The commonplace conception of the word is that it is a metaphor that emanates from the literal fact of the Reverend James Flynn’s physical condition the narrator recalls at the beginning of “The Sisters.” As a metaphor, paralysis has signified two immaterial, or spiritual, states: one individual or psychological and the other collective or social. The assumption is that as a collective and individual signifier, paralysis is the thing from which Ireland needs to be freed. Rather than relying on this received tradition of interpretation and assumptions about the term, I consider that paralysis is a two-sided term. I argue that paralysis is a problem and a solution and that sometimes what appears to be an escape from paralysis merely reinforces its negative manifestation. Paralysis cannot be avoided. Rather, it is something that should be engaged and used to redefine individual and social states. -
6Th Bloomsday Croatia: the Joyce of Wandering
6th Bloomsday Croatia: The Joyce of Wandering 16-17 June 2016, Pula Every 16th of June literature enthusiasts and Ireland fans celebrate Bloomsday – the day James Joyce's Ulysses takes place, inspired by the day Joyce had first laid eyes on the love of his life, Nora Barnacle. For the sixth year, the Croatian coastal town of Pula commemorates Joyce, the Irish literary genius who lived there in 1904, the year of Ulysses. Bloomsday Croatia takes it back to where it all started: the coastal town of Pula; Joyce's first station in his self-exile from Dublin with Nora Barnacle, who would later become his wife. Initially, the couple had set out for Trieste, but ended up in Pula, an Austro-Hungarian naval port. Travel and literature became discoursively entangled in the 20th century, so Joyce's innate desire to explore and wander are the focus of the sixth edition of the Bloomsday Croatia festival. As the most mindpicking and meaning-elusive episode of his James Joyce's epochal Ulysses, Circe is the episode of choice. The hallucinatory episode is a metaphor for the cognitive travel; for Bloom it is the hero's journey into the mind, the sublime and the unconscious, his threading forth into the novel enviroment, just like that of Joyce's in the year of 1904 where he lived in the military port of Pula, an Austro- Hungarian coastal symbol of transit and change. A similar texture of the wandering hero is to be found in Stephen Dedalus, the ultimate Joycean hero who's coming of age was encapulated in the breathtaking psycho-geographic journey A Portrait of The Artist as a Young Man.