Reading of Joyce
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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Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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. -
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. -
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. -
Joyce's Heirs
Joyce’s Heirs: Joyce’s Imprint on Recent Global Literatures Editor: Olga Fernández Vicente Co-editors: Mari Mar Boillos Pereira Richard Jorge Fernández Paulo Kortazar Billelabeitia CIP. Biblioteca Universitaria Joyce’s heirs [Recurso electrónico] : Joyce’s imprint recent global literatures / editor, Olga Fernández Vicente … [et al.]. – Datos. – Bilbao : Universidad del País Vasco / Euskal Herriko Unibertsitatea, Argital- pen Zerbitzua = Servicio Editorial, [2019]. 1 recurso en línea : PDF (167 p.) Modo de acceso: World Wide Web. ISBN: 978-84-9860-727-7. 1. Joyce, James,1882-1941 - Crítica e interpretación. I. Fernández Vicente, Olga, ed. (0.034)820JOYCE1.06 JOY Debekatuta dago liburu hau osorik edo partez kopiatzea, bai eta tratamendu tronikoz, mekanikoz, fotokopiaz, erregistroz edo beste edozein eratara, baldin eta copyrightaren jabeek ez badute horretarako baimena aldez aurretik eta idatziz eman. UPV/EHUko Euskara Zerbitzuak sustatua eta zuzendua, Euskarazko ikasmaterial- gintza sustatzeko deialdiren bitartez. Diseño de portada: Susana Jodra © Euskal Herriko Unibertsitateko Argitalpen Zerbitzua Servicio de Publicaciones de la Universidad del País Vasco ISBN: 978-84-9860-727-7 Foreword We would like to give special thanks to the research team in LAIDA Literatura eta Identitatea Ikerketa Taldea. Their contribution, which can be found in https://www.ehu. eus/es/web/laida/helburua, to the research in Basque literature in a bilingual context, the relationship between literature, gender and identity, and the construction of national identities has been, and is, a paramount example of expertise and dedication. The editors would also like to express their heartfelt thanks to Dr Jon Kortazar Uriarte, professor of Basque Literature at UPV/EHU and main researcher for the LAIDA team, for his invaluable help, without which this volume would have never been published. -
The Afterlives of Joyce's 'Alphabetical Notebook' from a Portrait to Ulysses
The Afterlives of Joyce’s ‘Alphabetical Notebook’ from A Portrait to Ulysses (1910–20) Luca Crispi University College Dublin Introduction Compositional Chronology of A Portrait 1. Section A of the First Movement of Chapter V (P V.1–226) 2. Section B of the First Movement of Chapter V (P V.227–1522) 3. The Abandoned Extension of Chapter V a. The ‘Doherty Fragment’ and ‘Telemachus’ b. Missing Drafts Featuring May Dedalus and ‘Telemachus’ c. Missing Drafts of Stephen’s ‘Hamlet’ Discussion d. Missing Drafts Repurposed for ‘Sirens’ 4. Chapters I and II 5. Section B of the Third Movement Of Chapter V (P V.1860– 2608) 6. The Second Movement of Chapter V: The Villanelle (P V.1523– 767) 7. The Fourth Movement of Chapter V (P V.2609–794) 8. The British Library ‘Circe’ Notesheet 6 Conclusion The Afterlives of Joyce’s ‘Alphabetical Notebook’ Luca Crispi INTRODUCTION One of the most remarkable and productive notebooks James Joyce ever compiled is his so-called ‘Alphabetical Notebook’ (Cornell MS 25).1 Not only did he first use it to continue writing and revising Chapter V of A Portrait, he also relied on it to revise, restructure, and radically transform Chapters I, II, and V. More fully than anything else that survives, the notebook indicates that Joyce intended to write a series of scenes for a more expansive version of A Portrait that he chose not to include in the published work. He most likely also wrote still more scenes specifically for the first episode of Ulysses in 1914 and 1915 also based on entries he drew from the ‘Alphabetical Notebook’. -
Additional Bibliography
Additional Bibliography The references in this list - arranged alphabetically - comprise secondary material, which may be of use in additional fields of biographical inquiry. Antoni, Claudio, 'A Note on Trieste in Joyce's Time', james Joyce Quarterry, 9 (Spring 1972) 318-9 (the main historical and cultural aspects when Joyce lived there). Barnes, Djuna, 'James Joyce', Vaniry Fair, 18 (April 1922) 65, 104 (interview discussion ofJoyce in Paris, by a fellow novelist). Beach, Sylvia, 'Portrait of the Artist', Irish Times (Dublin), 16June 1962, p. 10 Uoyce in Paris in the 1920s). Benco, Aurelia Gruber, 'Between Joyce and Benco', james Joyce Quarterry, 9 (Spring 1972) 328-33 (the relationship between Joyce and his friend the Italian critic and publisher Silvio Benco, by Benco's daughter). Benco, Silvio, 'James Joyce in Trieste', Pergaso, 2 (8 August 1930) 150-65. Reprinted as 'Ricordi diJoyce', Umana, 20 (May-September 1971) 6-12; in English translation as 'James Joyce in Trieste', Bookman (New York), 72 (December 1930) 375-80; and in Portraits of the Artist in Exile ed. Willard Potts (Seattle and London: University of Washington Press, 1979) pp. 49- 58 (memoir by Joyce's close friend the critic and publisher). Borach, Georges, 'Gespriiche mit James Joyce', Neue Zurcher Zeitung, no. 827 (3 May 1931) 3. Reprinted in English translation as 'Conversations with James Joyce', College English, 15 (March 1954) 325-7; in Meanjin, 13 (Spring 1954) 393-6; in London Magazine, I (November 1954) 75-8; and in Portraits of the Artist in Exile, ed. Potts, pp. 69-72. Bradley, Bruse, SJ, James Joyce's Schooldays (Dublin: Gill & Macmillan, 1982) Uoyce at Clongowes Wood College, 1888-91; and at Belvedere College, 1893-8). -
James Joyce - Poems
Classic Poetry Series James Joyce - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive James Joyce(2 February 1882 – 13 January 1941) James Augustine Aloysius Joyce was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominently the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters. Joyce was born to a middle class family in Dublin, where he excelled as a student at the Jesuit schools Clongowes and Belvedere, then at University College Dublin. In his early twenties he emigrated permanently to continental Europe, living in Trieste, Paris and Zurich. Though most of his adult life was spent abroad, Joyce's fictional universe does not extend beyond Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, “For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. -
Appendix: the Joyce Family
Appendix: The Joyce Family George Joyce (early 19th c.) [Jl's paternal great-great-grandfatherl James Augustine Joyce m. Anne McCann fi's paternal great-grand parents] James Augustine Joyce (1827 - 1865) m. 28 February 1848 Ellen O'Connell (daughter of John O'Connell) [JJ's paternal grand parents] [also Alicia, Charles, and William O'Connell ('Uncle Charles') (Ellen's sister and brothers)] John Stanislaus Joyce (4 July 1849 - 29 Dec. 1931) [JJ's father] John Murray and [ J Flynn llT's maternal grandparents] [also Mrs Callanan and Mrs Lyons, Jl's great-aunts, and Mrs Callanan's daughter, Mary Ellenl John ('Red') Murray m. Lillah [ Lillah Isobel Val Gerald William Murray (d. 1912) m. Josephine Giltrap [Aunt Josephine] (d. 1924) Alice Kathleen ('Katsy') (b. ca. 1889) James Bert Mabel May Mary Jane ('May') Murray (15 May 1859 - 13 August 1903) [JJ's mother] 126 Appendix 127 John Stanislaus Joyce (4 July 1849 - 29 December 1931) m. 5 May 1880 Mary Jane ('May') Murray (15 May 1859 -13 August 1903) [J/'s parents] 10 surviving children (6 girls, 4 boys); 5 children died in infancy E.g., male child (1881) did not survive; also Frederick (Freddie) (1894); male child, ca. 1896 - 1899 James Augusta [sic] [James Augustine Aloysius] (2 February 1882 - 13 January 1941) Margaret Alice ('Poppie') (18 January 1884 - March 1964) [Admit ted to Sisters of Mercy (as Sister Gertrude); emigrated to New Zealand (1909)] John Stanislaus ('Stannie') (17 December 1884 - 16 June 1955) m. 13 August 1928 Nelly Lichtensteiger (b. 1907) [Emigrated to Lon don after Stanislaus's death] James (b. -
Discover Joyce's Dublin by Reading and Running
Barry Sheehan / Dublin School of Creative Arts / Dublin Institute of Technology Discover Joyce’s Dublin by Reading and Running James Joyce told his friend Frank Budgen: “I want’ said Joyce, as we were walking down the Universitätstrasse, ‘to give a picture of Dublin so complete that if the city one day suddenly disappeared from the earth it could be reconstructed out of my book” (Budgen, 1960, p.67, 68). This paper looks at the relevance of Dublin to Joyce’s writings and of the relevance of Joyce’s writings to Dublin. It is concerned with the virtual Dublin of Joyce’s writings, the physical manifestation of Dublin over time, and the relationships between them. Numerous scholars read and analyse the writings of Joyce without ever visiting Dublin. Is it necessary to visit Dublin to fully appreciate Joyce’s writings and is it necessary to read his writings to fully appreciate Dublin? What can be discovered in Dublin that cannot be discovered remotely? Could you recreate Dublin from Joyce’s writings? Methodology this research is trying to investigate wider “You are walking through it howsomever. associations between the people and the I am, a stride at a time. A very short space places that appear in the writings. of time through very short times of space” (Joyce, 1986, p.31). Reading and running are the primary methods of this research. Notes made from In making observations about a city, you, like the runs are linked with textual pieces from Stephen Dedalus, need to move around it. Joyce’s writings as well as observations Walking and taking public transportation in books about Joyce or the city. -
Place and Space in English Modernist Children's Literature And
1 Modernist Repositionings of Rousseau‘s Ideal Childhood: Place and Space in English Modernist Children‘s Literature and Its French Translations Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy Aneesh Barai Queen Mary, University of London 2 Abstract It is a little-known fact that several modernists wrote for children: this project will focus on T. S. Eliot‘s Old Possum‟s Book of Practical Cats, James Joyce‘s The Cat and the Devil, Gertrude Stein‘s The World is Round and Virginia Woolf‘s Nurse Lugton‟s Curtain. While not often thought of as a modernist, I contend that Walter de la Mare‘s short stories for children, especially The Lord Fish, take part in this corpus of modernist texts for children. These children‘s stories, while scarcely represented in critical circles, have enjoyed a wide popular audience and have all been translated into French. Modernism is often considered an elitist movement, but these texts can contribute to its reassessment, as they suggest an effort towards inclusivity of audience. The translation of children‘s literature is a relatively new field of study, which builds from descriptive translation studies with what is unique to children‘s literature: its relation to pedagogy and consequent censorship or other tailoring to local knowledge; frequently, the importance of images; the dual audience that many children‘s books have in relating to the adults who will select, buy and potentially perform the texts; and what Puurtinen calls ‗read- aloud-ability‘ for many texts. For these texts and their French translations, questions of children‘s relations to place and space are emphasised, and how these are complicated in translation through domestication, foreignisation and other cultural context adaptations. -
Joyce's Others / the Others and Joyce (2020)
UNIVERSITÀ DEGLI STUDI ROMA TRE THE JAMES JOYCE ITALIAN FOUNDATION JSI – Joyce Studies in lta1y Founder: Giorgio Melchiori General editor: Franca Ruggieri Editorial Board: Roberto Baronti Marchiò (Università di Cassino e del Lazio Meridionale), Andrea Binelli (Università di Trento), Sonia Buttinelli (Università di Cassino e del Lazio Meridionale), Peter Douglas (Università Roma Tre), Annalisa Federici (Università di Roma “Sapienza”), Dora Faraci (Università Roma Tre), Fabio Luppi (Università Roma Tre), Maria Domenica Mangialavori (Università Milano - Bicocca), Enrico Terrinoni (Università per Stranieri, Perugia), Serenella Zanotti (Università Roma Tre). Board of Advisors: Jacques Aubert (Université de Lyon), Richard Alan Barlow (Nanyang Technological University, Singapore), Pieter Bekker (JAMES JOYCE BROADSHEET, Leeds), Morris Beja (Ohio State University), Richard Brown (University of Leeds), Daniel Ferrer (ITEM, CNRS/ENS, France), Anne Fogarty (University College Dublin), Lia Guerra (Università di Pavia), Ellen Carol Jones (Columbus, Ohio), Geert Lernout (University of Antwerp), Timothy Martin (Rutgers University), Francesca Romana Paci (Università del Piemonte Orientale), Paola Pugliatti (Università di Firenze), Fritz Senn (Zurich), Enrico Terrinoni (Università per Stranieri, Perugia), Carla Vaglio Marengo (Università di Torino), Jolanta Wawrzycka (Radford University, USA). Responsible for reviews: Fabio Luppi (Università Roma Tre). Joyce Studies in Italy is an annual peer-reviewed journal aimed at collecting materials that throw light on Joyce’s work and world. It is open to essays from scholars both from Italy and abroad, and its broad intertextual approach is intended to develop a greater understanding of James Joyce, the man and the artist. The project was initiated in the early 1980s by a research team at the University of Rome, ‘La Sapienza’ led by Giorgio Melchiori. -
'I Have Left My Book': Setting Joyce's Chamber Music Lyrics to Music
‘I Have Left My Book’: Setting Joyce’s Chamber Music Lyrics to Music ‘Jim should have stuck to music instead of bothering with writing.’ Nora Barnacle (quoted in Ellmann 1983: 169) I It’s a well-established fact of literary history that music was at the heart of James Joyce’s life and art. Although celebrated as one of the greatest writers of the twentieth century – certainly one of the most influential – Joyce’s inspiration was at least as musical as it was literary. He heard the world as much as he saw it – as Harry Levin wrote: ‘ultimately it is the sense of hearing that dominates and modulates his prose: what gets said and, not least, what gets sung’ (‘Foreword’ in Teicher-Russel 1993: xi). Joyce’s ideas about the world and how the human fits into it were shaped to a great extent by his own musical imagination, which in turn was largely determined by the general cultural atmosphere in which he was born and raised. Put simply, Ireland in the late nineteenth century was a musical country, Dublin was a musical city, and the Joyces were a musical family. In his memoir of their undergraduate days together at the National University, Joyce’s university friend Con Curran wrote that ‘Music … was an abiding passion. It was a heritage from both sides of his family. His mother as well as his father was a singer, and also a pianist’ (1968: 40-1). It’s only fitting in light of this that the first book published by the ‘Young Man’ who was to go on to become such a celebrated ‘Artist’ should be one so thoroughly inspired by, and infused with, music.