DOCSLIB.ORG

In Finnegans Wake

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Finnegans Wake Dounia Bunis Christiani Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake compiled by C. George Sandulescu Contemporary Literature Press Bucureşti 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu ISBN: 978-606-8366-17-3 © The University of Bucharest Technical editor: Lidia Vianu. © C. George Sandulescu IT Expertise: Cristina Petrescu Typing: Angelica Ţăpoca © Dounia Bunis Christiani Publicity: Ruxandra Câmpeanu. Acknowledgements. The present Lexicon is a profound and thoroughgoing lexicographic re-processing of Dounia Bunis Christiani‘s book, entitled Scandinavian Elements of Finnegans Wake, published by Northwestern University Press, Evanston, 1965, 259 pages. I hereby duly express all acknowledgements to it. Personally, I do not claim originality in this book, except for a fair knowledge of the three Scandinavian languages. My genuinely original contributions are the lexicographic techniques and procedures, which prove to be essential in the structuring of the Lexicon. All credit for the choice of the Scandinavian entries should therefore go to Dounia Bunis Christiani. I cannot but express my gratitude, thanks and admiration to her for her own selection of Finnegans Wake entries, as listed in print in the 1965 book. Sadly, her lexicographic competence was not quite up to standards. I am still surprised, however, that Roland McHugh never even mentions her name in his itemized Acknowledgements to his massive Annotations to Finnegans Wake (1980 and 1991). The only place where Roland McHugh mentions Dounia Bunis Christiani is in his book on The Sigla of Finnegans Wake. The fundamental hurdle for everybody is the inability to surmount the clearcut opposition between the Synchronic and the Diachronic. That is the reason why the first Epigraph of the Lexicon is the quotation from Joyce to the effect that ―history is a nigthmare‖... I wish to thank Professor Bengt Sigurd, Head of the Departments of Theoretical Linguistics in the University of Stockholm, and afterwards in the University of Lund, for his careful reading of early extracts from this Scandinavian Lexicon. His most relevant comments over the many years I worked with him on the inter-relationship between these three Scandinavian languages have been of great assistance to me. G.S. Acknowledgements are also due to Gustaf Stern and James Atherton for the following: Gustaf Stern. Meaning and Change of Meaning. With special reference to the English language. Published by Indiana University Press at Bloomington. 1931. 466 pages. James Atherton. The Books at the Wake. A Study of Literary Allusions in James Joyce’s Finnegans Wake. Published by Southern Illinois University Press, Carbondale and Edwardsville. 1959. 308 pages. Henrik Ibsen‘s photograph (by Bettman/Corbis) was published by The Guardian. His siganture appears in the book Henrik Ibsen’s Prose Dramas, published in London. James Joyce‘s signature after the Holograph List of 40 Languages is taken from his Letter to Henrik Ibsen (March 1901). 2 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake compiled by C. George Sandulescu History is a nightmare from which I am trying to awake. (said by Stephen Dedalus to Mr Deasy…) Ulysses, 2.377 Le signe est un renvoi. Roman Jakobson, 1974 You want to know a language really well? Then, write a Dictionary for it! And do it from scratch! Leon D. Leviţchi 3 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu To the memory of Leon D. Leviţchi, teacher and friend, the greatest lexicographer of us all. 4 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu Table of Contents Joyce‘s List of Forty Languages in Holograph Version, p. 7 C. George Sandulescu: On Languages, p. 9 Dounia Bunis Christiani: The Polyglot Poetry of Finnegans Wake, p. 14 C. George Sandulescu: Formal Structure of Finnegans Wake, p. 31 A Lexicon of Common Scandinavian in Finnegans Wake, p. 35-159 PART ONE: 1. Episode A for ADA (27 pages, from 003 to 029) p. 37-42 2. Episode B for BETT (18 pages, from 030 to 047) p. 43-45 3. Episode C for CELIA (27 pages, from 048 to 074) p. 46-51 4. Episode D for DELIA (29 pages, from 075 to 103) p. 52-56 5. Episode E for ENA (22 pages, from 104 to 125) p. 57-58 6. Episode F for FRETTA (43 pages, from 126 to 168) p. 59-64 7. Episode G for GILDA (27 pages, from 169 to 195) p. 65-68 8. Episode H for HILDA (21 pages, from 196 to 218) p. 69-72 PART TWO: 9. Episode I for ITA (41 pages, from 219 to 259) p. 73-80 10. Episode J for JESS (49 pages, from 260 to 308) p. 81-88 11. Episode K for KATTY (74 pages, from 309 to 382) p. 89-114 12. Episode L for LOU (17 pages, from 383 to 402) p. 115-117 PART THREE: 13. Episode M for MINA (26 pages, from 403 to 428) p. 118-121 14. Episode N for NIPPA (45 pages, from 429 to 473) p. 122-126 15. Episode O for OPSY (81 pages, from 474 to 554) p. 127-141 16. Episode P for POLL (36 pages, from 555 to 590) p. 142-149 PART FOUR: 17. Episode Q for QUEENIEE (36 pages, from 591 to 628) p. 150-157 5 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu Appendices Gustaf Stern: Meaning and Change of Meaning. Chapter Seven, ―General Theory of Sense-Change‖, p. 160 Rudiments of Norse Mythology, p. 170 James Atherton: The Books at the Wake. Chapter Thirteen, ―The Eddas‖, p. 183 Index, p. 190 6 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu Holograph List of the Forty Languages used by James Joyce in writing Finnegans Wake. 7 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu This is the Rosetta Stone – Champollion‘s centre-piece in deciphering the hieroglyphs. Its most important feature was that the three diffrent texts on it were written in three different languages and three different scripts. It was that very feature that asisted Champollion in deciphering the famous Egyptian hieroglyphs. Hence the analogy with Joyce‘s poly-linguistic Finnegans Wake. IN THE SAME SERIES: Joyce Lexicography: 1. The Romanian Lexicon of Finnegans Wake. 2. Helmut Bonheim‘s German Lexicon of Finnegans Wake. In preparation: Extracts from the overall Romance Lexicon of Finnegans Wake. 8 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu On Languages. To Joyce in his later years, after Ulysses, all languages are one. One language. All in one. Once you understand this, you begin to understand Finnegans Wake. The overwhelming point is that he knows them, and everything that goes with them by way of culture et civilisation… In fact, just like Jim Atherton‘s Books at the Wake (1959). That is why you are all badly in need of Bejamin Lee Whorf‘s idea of genius, labelled by himself Standard Average European in order to understand the whole world around us, and Joyce, and Joyce and his World. Ultimately, that may be the workings of William Blake‘s Devil as he appears in The Marriage of Heaven and Hell… That is how Babel the Tower lands as Babble-cum-Beelzebub right in your lap. And you are unprepared. The trouble is that everybody— especially the Americans—are quite unprepared. What can you do to unravel the conundrum? The solution I propose here is to resort to a multiple reading of the text by means of what the French might choose to call tranches de langage, largely depending on your personal linguistic background (with the proviso that you are familiar with more languages than just one). Say, begin with 9 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C. George Sandulescu German and Scandinavian, and—most important—learn the Glossaries first! As Joyce himself had done. For learning by rote three to four hundred alien words is nothing to you, is it? You are quite aware that we are all of us today well-travelled citizens of the world (where is Oliver Goldsmith to hear this?) in The Global Village of today. At a rate of speed of one hundred words a day, you are through the whole bunch in less than a week. Et ainsi de suite! Afterwards, when it comes to less linguistic information, Louis Mink and his Gazeteer of Finnegans Wake (1978) you are sure to chew out properly in a fortnight—and what a mouthful of a word (favourite with the Americans) that word fortnight is! Adaline Glasheen? Give her double the time! She is a difficult lady… Her three successive Censuses (1956. 1963. 1977.) is very hard work! One last thing: Joyce was no ordinary language learner. He was coming quite close to a linguistic genius. That way it was easy to him to intuit Whorf‘s Standard Average European. And, that way too, he could see the objective existence of Common Scandinavian (much in the same way in which travelled Germans bracket together Germany with Austria, large chunks of Switzerland and smaller bits of Northern Italy, when they say—Echt deutsch spricht man in Österreich!). 10 Contemporary Literature Press 2012 Joyce Lexicography: A Lexicon of Common Scandinavian in Finnegans Wake, compiled by C.
Load more

Recommended publications
  • Letters to James Joyce
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 70 Papers of Paul and Lucie Léon (MS 34,300-34,301; 36,907-36,939) Research papers and correspondence of Paul Léon. Fashion journalism and general correspondence of Lucie Léon (or Noel). Manuscripts, inventories of materials, correspondence and miscellaneous document belonging to Paul and Lucia Léon relating to their connections with James Joyce. Compiled by Peter Kenny, Assistant Keeper Contents Introduction...............................................................................................................................3 The Papers..............................................................................................................................3 Lucie and Paul Léon...............................................................................................................3 I. Papers of Lucie Léon ...........................................................................................................5 I.i. Correspondence ................................................................................................................5 I.ii. Publications and related materials ..................................................................................6 I.iii. Biographical and miscellaneous....................................................................................8 II. Papers of Paul Léon............................................................................................................9 II.i. Research material
    [Show full text]
  • Love in Joyce
    /RYHLQ-R\FH$3KLORVRSKLFDO$SSUHQWLFHVKLS 5XEHQ%RUJ Joyce Studies Annual, 2014, pp. 42-62 (Article) 3XEOLVKHGE\)RUGKDP8QLYHUVLW\3UHVV DOI: 10.1353/joy.2014.0010 For additional information about this article http://muse.jhu.edu/journals/joy/summary/v2014/2014.borg.html Access provided by Hebrew University of Jerusalem (28 Jan 2015 11:28 GMT) Love in Joyce A Philosophical Apprenticeship RUBEN BORG This essay reads Joyce’s fiction as an apprenticeship in love. With this term, I would like to suggest that love is not only a prominent theme in Joyce, but a dominant concept within a philosophical and artistic trajectory, part and parcel of an artist’s progress as he experiments with the power of images and with modes of representation. My argument turns on three interconnected points: first, that early on in his career Joyce adopts a scholastic framework according to which love is the supreme philosophi- cal emotion and the source from which all other emotions proceed; sec- ond, that he puts this framework to the test by pitting the concept of love against a cluster of related passions, most notably desire, pity, and joy; and finally, that in exploring these passions, he grapples with the problem of reconciling a scholastic interpretation of love with a modernist approach to representation. Joyce originally adheres to the hierarchy of dramatic passions estab- lished by the scholastic tradition; but in the course of his artistic evolution he is led to question the sustainability of that hierarchy. We will see that this shift is best illustrated by a comparison between A Portrait of the Artist and Giacomo Joyce.
    [Show full text]
  • Definition of Pantomime: ​A Theatrical Entertainment, Mainly for Children
    Definition of Pantomime: A theatrical entertainment, mainly for children, which involves music, topical jokes, and slapstick comedy and is ​ based on a fairy tale or nursery story, usually produced around Christmas. A typical Pantomime storyline: Normally, a pantomime is an adapted fairytale so it is usually a magical love story which involves something ​ going wrong (usually the fault of an evil baddy) but the ending (often after a fight between good and evil) is always happy and results in true love. Key characters in Pantomime: The female love interest, e.g Snow White, Cinderella etc The Handsome Prince e.g Prince Charming The evil character e.g the evil Queen in Snow White The faithful sidekick - e.g Buttons in Cinderella The Pantomime Dame - provides most of the comedy - an exaggerated female, always played by a man for laughs How to act in a pantomime style: 1. Your character is an over-the-top type’, not a real person, so exaggerate as much as you can, in gesture, voice and movement 2. Speak to the audience - if you are a ‘Goody’, your character must be likeable or funny. If you are a ‘Baddy’, insult your audience, make them dislike you from the start. 3. There is always a narrator - make sure she knows speaks confidently and knows the story well. 4. Encourage the audience to be involved by asking for the audience’s help, e.g “If you see that naughty boy will you tell me?” 5. If you are playing that ‘naughty boy’, make eye contact with the audience and creep on stage.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • JOYCE and the JEWS Also by Ira B
    JOYCE AND THE JEWS Also by Ira B. Nadel BIOGRAPHY: Fiction, Fact and Form GERTRUDE STEIN AND THE MAKING OF LITERATURE (editor with Shirley Neuman) GEORGE ORWELL: A Reassessment (editor with Peter Buitenhuis) Joyce and the Je-ws Culture and Texts Ira B. Nadel Professor of English University of British Columbia M MACMILLAN PRESS © Ira B. Nadel 1989 Softcover reprint of the hardcover 1st edition 1989 978-0-333-38352-0 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended), or under the terms of any licence permitting limited copying issued by the Copyright licenSing Agency, 33-4 Alfred Place, London WC1E 7DP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1989 Published by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world Typeset by Wessex Typesetters (Division of The Eastern Press Ltd) Frome, Somerset British Library Cataloguing in Publication Data Nadel, Ira Bruce Joyce and the Jews: Culture and texts. 1. Joyce, James, 1882-1941--Criticism and interpretation I. Title 823'.912 PR6019.09Z1 ISBN 978-1-349-07654-3 ISBN 978-1-349-07652-9 (eBook) DOI 10.1007/978-1-349-07652-9 In memory of my father Isaac David Nadel and for Ryan and Dara 'We Jews are not painters.
    [Show full text]
  • 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.
    [Show full text]
  • Modernism, Joyce, and Portuguese Literature
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 8 (2006) Issue 1 Article 5 Modernism, Joyce, and Portuguese Literature Carlos Ceia New University of Lisboa Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ceia, Carlos. "Modernism, Joyce, and Portuguese Literature." CLCWeb: Comparative Literature and Culture 8.1 (2006): <https://doi.org/10.7771/1481-4374.1293> This text has been double-blind peer reviewed by 2+1 experts in the field. The above text, published by Purdue University Press ©Purdue University, has been downloaded 5051 times as of 11/ 07/19.
    [Show full text]
  • Education Pack 2019.Cdr
    BUXTON OPERA HOUSE & PAVILION ARTS CENTRE EDUCATION PACK HISINTRTORODUCY OFTION PANTOMIME Welcome to Buxton Opera House's Pantomime Educaon Pack for our 2019 producon of Cinderella! The Christmas Pantomime is a huge highlight in the Opera House programme, and one which we look forward to sharing with you every year. A visit to the Pantomime may be a child's very first experience of theatre or live performance, and if it is capvang enough, it will leave an inspiring lasng impression. At Buxton Opera House, we are commied to capturing the hearts and minds of children across the Peak District, so we have designed this Educaon Pack to ensure your students get as much out of their trip to the theatre as they possibly can. Offering both entertainment and educaon, this pack contains reference informaon, resources, fun acvies and creave tasks that will help to further your students' understanding and enjoyment of our producon of Cinderella. Please feel free to use it as you wish! We hope you enjoy exploring this much-loved tale as much as we have, and we look forward to welcoming you to the Opera House soon! HISTORY OF PANTOMIME Pantomime is a type of theatre producon intended for family entertainment which includes music, dance and comedy. Pantomime found its heart, and developed in the United Kingdom, where it is performed typically during the Christmas and New Year season. These days, Pantomime is oen seen as a quintessenally Brish tradion, but the origins of this form of theatre actually stem from much warmer parts of Europe! One of the first recorded references to Pantomime was in Ancient Greece; the Greek words “pan” meaning “all”, and “mimos” which translates as “imitator” described a group who “imitate all” – the performances would feature songs, music and comedy.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • CINDERELLA by JACK NORTHCOTT Extract a SMITH SCRIPT
    CINDERELLA BY JACK NORTHCOTT Extract A SMITH SCRIPT This script is protected by copyright laws. No performance of this script -IN ANY MEDIA – may be undertaken without payment of the appropriate fee and obtaining a licence. For further information, please contact SMITH SCRIPTS at [email protected] Cinderella Pantomime Script Cinderella The magical family pantomime © Jack Northcott 2018 !1 Cinderella Pantomime Script CHARACTERS Cinderella Poor stepdaughter of Pri Madonna Buttons In love with Cinders Pri Madonna Married Cinders’ father Annabella Ugly and vile Belladona Ugly and vicious Prince Charming Handsome, principal boy Dandini Prince’s aid and confidant Fairy Godmother A magical fairy who looks after Cinderella SUPPORTING CAST Pinky A tiny mouse Perky A tiny mouse Porky tiny mouse Flutter sparrow Splutter sparrow with a speech impediment Hoppit rabbit Droppit rabbit Servant staff member in the household Chorus of villagers, ball goers and forest dwellers, As always in Pantomime, genders are ambiguous and this is no exception. Particularly Buttons, Pri Madonna, Dandini, Prince Charming and Fairy Godmother could be played by either a male or female but the gender of their character must remain the same. With the exception of the Fairy Godmother who could easily be ambiguous in gender. © Jack Northcott 2018 !2 Cinderella Pantomime Script SCENES ACT I Scene 1 Village Near the Palace Scene 2 Elsewhere in the Village Scene 3 Hardup Manner Scene 4 Elsewhere in the Village Scene 5 The Uglies’ Boudoir Scene 6 Cinderella’s Pumpkin Patch Scene 7 Hardup Manner ACT II Scene 8 The Palace Ballroom Scene 9 A Corridor in the Palace Scene 10 Into the Woods Scene 11 Path in the Woods Scene 12 Village Near the Palace Scene 13 Song Sheet Scene 14 The Royal Palace © Jack Northcott 2018 !3 Cinderella Pantomime Script MUSICAL NUMBERS (Feel free to add or remove musical numbers as you wish.
    [Show full text]