James Joyce Letters to Wife
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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 -
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. -
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. -
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. -
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. -
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. -
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. -
“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.