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 Me‐ ridionale), Sonia Buttinelli (Università di Cassino e del Lazio Meridionale), Peter Douglas (Università RomaTre), Dora Faraci (Università Roma Tre), Anne Fogarty (Universitiy College Dublin), Fabio Luppi (Università Guglielmo Marconi), Maria Domenica Mangialavori (Università Milano ‐ Bicocca), John McCourt (Università Roma Tre), Enrico Terrinoni (Università per Stranieri, Perugia). Board of Advisors: Jacques Aubert (Université de Lyon), Roberto Baronti Marchiò (Università di Cassino e del Lazio Meridionale), Morris Beja (Ohio State University), Daniel Ferrer (ITEM, CNRS/ENS France), Anne Fogarty (University College Dublin), Ellen Carol Jones (Columbus, Ohio), Geert Lernout (University of Antwerp), John McCourt (Università Roma Tre),Timothy Martin (Rutgers University), Francesca Ro‐ mana Paci (Università del Piemonte Orientale), Fritz Senn (Zurich James Joyce Foun‐ dation), Enrico Terrinoni (Università per Stranieri, Perugia), Carla Vaglio Marengo (Università di Torino). Joyce Studies in Italy is a peer‐reviewed annual journal aimed at collecting mate‐ rials which throw light upon Joyce’s work and world. It is open to the contribu‐ tions from scholars from both Italy and abroad, and its broad intertextual ap‐ proach is intended to develop a better 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. It subsequently passed to the Università Roma Tre. Originally no house style was imposed re‐ garding the individual essays in the collection but in recent issues a standardized stylesheet has been adopted wich can be found at the end of each volume. Under the patronage of honorary members Umberto Eco and Giorgio Melchiori, the James Joyce Italian Foundation was founded in 2006 (website: http://host.uniroma3.it/associazioni/jjif). The work of the Foundation, and the is‐ sues of the Piccola Biblioteca Joyciana series, are also intended to promote and further the work undertaken by “Joyce Studies in Italy”. JOYCE STUDIES IN ITALY 18 2016 SHAKESPEAREAN JOYCE JOYCEAN SHAKESPEARE edited by John McCourt Volume pubblicato con il contributo dell’Università degli Studi Roma Tre e The James Joyce Italian Foundation TUTTI I DIRITTI RISERVATI È vietata la traduzione, la memorizzazione elettronica, la riproduzione totale o parziale, con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o di- dattico. L’illecito sarà penalmente perseguibile a norma dell’art. 171 della legge n. 633 del 22/04/1941 Direttore responsabile: Franca Ruggieri In registrazione presso il Tribunale Ordinario di Cassino ISSN 2281-373X © 2016, Editoriale Anicia s.r.l.- Roma http://www.edizionianicia.it/store/ [email protected] Single copy Price € 18, 00 Subscription Rates (one issue annually): Personal:18, 00 Institutional: 30,00 The journal will be published on the following website: https://thejamesjoyceitalianfoundation.wordpress.com/ Purchases can be made by directly contacting the publisher and then completing a bank transfer covering the price of the book and postage costs (this is €5 within Italy, but varies according to the country of destination). Address: James Joyce Italian Foundation Dipartimento di Lingue, Culture e Letterature Straniere Via Valco di San Paolo, 19 00146 Roma [email protected] [email protected] CONTENTS SHAKESPEAREAN JOYCE / JOYCEAN SHAKESPEARE John McCourt Introduction 7 Paola Pugliatti Shakespeare, Joyce and the Order of Literary Discourse 15 Valérie Bénéjam The Linguistic Drama in Joyce and Shakespeare 35 Laura Pelaschiar “An Old Thing ‘Twas, But It Express’d Her Fortune”. Joyce’s “Eveline” And Shakespeare’s Othello 57 Dipanjan Maitra An Apostolic Succession? Joyce’s Shakespeare Notes And The Poetics of Omniscience 75 Francesca Caraceni How Shakespeare was used: Echoes of John Henry Newman’s Idea of Literature in Joyce 97 Giuseppe Massara Metamorphoses of Sin 113 Richard Barlow “Northern Ire” and “invertedness”: Macbeth, the Wake, and the North 121 Fritz Senn, Jolanta Wawrzycka, Veronika Kovács Spectral Shakespeare in Ulysses Translation 131 Neslihan Ekmekçioglu The Haunting Spectres within Consciousness: Melancholia, Memory and Mnemonic Entrapment in Shakespeare and Joyce 153 Annalisa Federici “The Mirror Up To Nature”: Reflexivity and Self-Reflexivity In Ulysses and Hamlet 163 Benjamin Boysen Hamlet… Shakespeare. Brandes… Joyce 179 Ioana Zirra Paronomastic Filiation, Vertical Intertextuality and the Family Reunion of Bloom’s and Stephen’s Shakespearean Ghosts in the “Circe” Psychodrama 193 Brendan Kavanagh Shakespearean Soundings and Ulysses’s immunological- Musicological Interface 207 JOYCEAN GLEANINGS Shinjini Chattopadhyay “Cityful Passing Away”: Giacomo Joyce and Trieste 227 Elizabeth M. Bonapfel Why Not Chamber Music? What Punctuation in Joyce’s Poetry Can Tell Us about His Style 249 BOOK REVIEWS Richard Ambrosini, John McCourt, Enrico Terrinoni and Serenella Zanotti eds., Outside Influences, Essays in Honour of Franca Ruggieri 275 Fabio Luppi Winston, Greg, Joyce and Militarism 279 Fabio Luppi Enrico Terrinoni, James Joyce e la fine del romanzo 282 Francesca Romana Paci CONTRIBUTORS 287 JOHN MCCOURT ______________________________________________________ SHAKESPEAREAN JOYCE/JOYCEAN SHAKESPEARE ______________________________________________________ The relationship between Shakespeare and Joyce is intimidat- ingly vast and unending. And it is not as one-sided as might be imag- ined. Shakespeare is far more than a mere source for Joyce but also, as Paola Pugliatti asserts in her essay in this volume, drawing on Harold Love, “a sort of collaborator” within the Joycean text. But Joyce too, by scavenging words, ideas, structures, and themes, from Shake- speare, does not in any way deplete him but instead renews and re- plenishes his works, finding forms of engagement that renew Shake- speare’s relevance for readers in Joyce’s times and in our own. This is a token of Joyce’s recognition of the sheer greatness of the Bard if not of his deference towards him. For all the affinities teased out in this and other volumes and in multiple essays exploring this complex literary relationship, at first it might seem that the two writers could hardly have been more differ- ent, belonging, as they did, to different times, spaces, nationalities. The former a poet and playwright working in a nation in formation, living in what is often referred to as the Golden Age of the English Renaissance, during which the country was beginning to make its weight felt across the globe; the latter, a minor poet, an underwhelm- ing playwright, and a master of the novel, a genre not yet in existence in Shakespeare’s time, struggling to be published in a country moving uncertainly towards independence but enjoying, on its own terms, a powerful and empowering cultural revival or renaissance. Both wrote at crucial moments in the formation of their respective nations, albeit 7 at a distance of three hundred years. Shakespeare was writing when the English language as we know it was consolidating and his works played a key role in that process; Joyce wrote from outside the main- stream, described “[w]riting in the English language” as “the most in- genious torture ever devised for sins committed in previous lives” (SL, 230) and did much to both destabilize and enrich both the English lan- guage and the traditions of literature in English, firstly from Ireland and subsequently from his various perches in continental Europe. If Shakespeare gave indelible shape and resounding voice to the centre that is England, Joyce, in putting Ireland on the page and hence on the European and, ultimately, on the global literary map, symbolically gave equally vibrant voice to the rest of the world that had come under English influence or English colonization and whose native voice had, as a result, often been largely reduced to silence. Read side by side, in this, the year in which we celebrate the four hundredth anniversity of the Bard’s death, Shakespeare and Joyce represent rival twin peaks of literature written in the English language. Yet in their times both started out as outsiders to the dominant literary elites and were seen by many, to borrow Robert Greene’s 1592 de- scription of Shakespeare, as upstart crows, confidently challenging the greatest writers and the consolidated traditions of their times while at the same time borrowing liberally from predecessors and contempo- raries: there is an upstart Crow, beautified with our feathers, that with his Tiger’s heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes facto- tum, is in his own conceit the only Shake-scene in a country.1 Just as Shakespeare was prone to borrow and adapt for his plots, so too Joyce had no compunction about appropriating or borrowing 1 Daryl Pinksen has disputed that this actually refers to Shakespeare in his “Was Robert Greene’s “Upstart Crow” the actor Edward Alleyn?”, The Marlowe Society Re- search Journal - Volume 06 - 2009 Online Research Journal Article. http://www.marlowe society.org/pubs/journal/downloads/rj06articles/jl06_03_pinksen_upstartcrowalleyn.pdf 8 from the Odyssey, or an Irish-American song, or even some of