In the context of scholarly re-evaluations of James Joyce’s relation to the literary revival in Ireland at the start of the twentieth century, this essay examines the significance of W.B. Yeats to A Portrait of the Artist as a Young Man. It traces some of the debates around Celtic and Irish identity within the literary revival as a context for understanding the pre-occupations evident in Joyce’s novel, noting the significance of Yeats’s mysticism to the protagonist of Stephen Hero, and its persistence in A Portrait of the Artist as a Young Man later. The essay considers the theme of flight in relation to the poetry volume that is addressed directly in the novel, Yeats’s 1899 collection, The Wind Among the Reeds. In the process, the influence of Yeats’s thought and style is observed both in Stephen Dedalus’s forms of expression and in the means through which Joyce conveys them. Particular attention is drawn to the notion of enchantment in the novel, and its relation to the literature of the Irish Revival. The later part of the essay turns to the 1899 performance of Yeats’s play, The Countess Cathleen, at the Antient Concert Rooms in Dublin, and Joyce’s memory of the performance as represented through Stephen towards the end of the novel. Here, attention is given to the mystical and esoteric aspects of A Portrait of the Artist as a Young Man, aspects that the novel shares with the poetry and drama of Yeats.

Portrait of the Artist as a Young Man

this article presents a student’s perspective on Jewish studies in Sweden over the past ten years. By identifying the milestones of her own educational and professional path, the author discusses three questions of particular interest for a student wanting to pursue any kind of Jewish studies in a Nordic country, using Sweden as an example, namely: 1) How to compose a curriculum that leads to doctoral studies? 2) What can be said about the ‘identity’ of Jewish studies in Sweden? 3) Can a degree in the subject field of choice also lead to a career outside the academic framework?

A guide for the perplexed.

Daily Mail の英語

Brian Richardson. Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction. Columbus: Ohio State University Press, 2006. 166 pp. $55.95 cloth; $24.95 paper. Brian Richardson's Unnatural Voices is a major contribution to narratology. Its starting point is the highly convincing thesis that 'narrative theory, despite its emphasis on narrative and narrators, has not yet systematically examined the impressive range of unusual postmodern and other avant garde strategies of narration', in part because postmodernism 'has often proven resistant to traditional narrative theory' (ix). He explains that the book is intended to rectify these unfortunate absences. It explores in depth one of the most significant aspects of late modernist, avant garde, and postmodern narrative - the creation, fragmentation, and reconstitution of narrative voices - and offers a theoretical account of these unusual and innovative strategies. This is an empirical study that describes and theorizes the actual practices of significant authors . . . Such an inductive approach is essential because many extreme forms of narration seem to have been invented precisely to transgress fundamental linguistic and rhetorical categories, (ix) In essence, the book comprises an inventory and theoretical overview of a large number of innovative contemporary uses of narrators and narration. These are contrasted with current theories of narrative poetics that, Richardson plausibly argues, cannot fully comprehend them. Such innovations include a new kind of narrative that hinges on the unexpected disclosure of a homodiegetic narrator towards the end of an apparently heterodiegetic text (for example, Ian McEwan's Atonement); 'it', 'they', and passive voice narration; second person narration (divided into standard, hypothetical, and autotelic); 'we' narration; multiperson narration (for example, texts that employ first and third person narration); indeterminate speakers; impossible acts of narration; interlocutor narration (for example, the 'Ithaca' episode in Ulysses); 'denarration' (narrators denying the truth of what they have just said); 'permeable' narration ('the uncanny and inexplicable intrusion of the voice of another within the narrator's consciousness' [95]); distinctively postmodern types of unreliable narrators such as fraudulent, contradictory, incommensurate, and disframed narrators; and unusual narrators in contemporary drama. And all in one hundred and forty pages! The final chapter, after discussing the modernist origins of contemporary anti-realist practices, ends with a plea for a general 'anti-poetics' of narrative that should be considered as a supplement and foil to traditional poetics. The proposal is not for a different poetics but for an additional one; that is, for an anti-mimetic poetics that supplements existing mimetic theories. Such a model will allow us to greatly expand the area covered by narrative theory, and will allow it to embrace a host of earlier non-mimetic literatures. And only in this way can we begin to do justice to the most effective imaginative achievements in narrative in our time. (138) Specifically, he suggests that 'we will be most effective as narrative theorists if we reject models that insist, based on categories derived from linguistics or natural narrative, on firm distinctions, binary oppositions, fixed hierarchies, or impermeable categories' (139). In Richardson's view, instead of such rigid typologies, we need an alternative model that stresses the permeability, instability, and playful mutability of the voices in non-mimetic fictions. Unnatural Voices is just what a narratological book should be: its proposals for narrative theory are original and important, and it also contains a number of illuminating readings of individual works. The book features an encyclopedic reference to a wide range of narratives from various countries, both postmodern and other (although the regular use of Samuel Beckett narratives provides a thread of continuity). …

Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction

Just in time for the holidays, treat yourself to healthy servings of art, philosophy, literature, and comic noir dished up on a painstakingly polished Gothic Revival silver platter. The first graph...

Fun Home: A Family Tragicomic

We bring to your attention a fine digitization of the first edition of Ulysses, listed below, produced by Gallica at the Bibliothèque nationale. Thanks for contributions to this Checklist go to Susanna Coetzee, Ma Ángeles Conde-Parrilla, Ann Copeland, Wilhelm Füger, Judith Harrington, K. P. S. Jochum, Erika Mihálycsa, Fritz Senn, and Bob Spoo. Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to <uxb5@psu.edu>. The Checklists are cumulated online in The James Joyce Checklist <http://norman.hrc.utexas.edu/ JamesJoyceChecklist/>.

https://muse.jhu.edu/journals/james_joyce_quarterly/v049/49.1.brockman.pdf

Current JJ Checklist (116)

We dedicate this Checklist to the memory of Will Goodwin—librarian, bibliographer, and, above all, bookman. Thanks to this Checklist’s contributors: Sabrina Alonso, Michael Cunningham, Kazuhiro Doki, Wilhelm Füger, K. P. S. Jochum, Derek Pyle, Fritz Senn, and Tsutomu Toda. Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to uxb5@psu.edu. The Checklists are cumulated online in The James Joyce Checklist <http://norman.hrc.utexas.edu/ JamesJoyceChecklist/>.

Current JJ Checklist (124)

https://muse.jhu.edu/journals/james_joyce_quarterly/v047/47.3.brockman.pdf

Current JJ Checklist (110)

We are pleased to announce the inauguration of The James Joyce Checklist Online, a collaboration between the JJQ and the Harry Ransom Humanities Research Center at the University of Texas. At present, the online version compiles the contents of all Checklists dating back to 1996, complete retrospective indexing for the JJQ back to its inception in 1963, and citations to numerous books and articles and the contents of other Joyce journals for a total of over eighteen thousand items. The URL for the online Checklist is <http://research. hrc.utexas.edu/jamesjoycechecklist/>. We invite your comments and suggestions. The small army of contributors to this issue’s Checklist includes Iris Bruderer-Oswald, Zelma Catalan, Tim Conley, Will Goodwin, Michael Groden, Judith Harrington, K. P. S. Jochum, Jacques Pourcher, Franca Ruggieri, Fritz Senn, Lissette Szwydky, Jolanta Wawrzycka, and Andreas Weigel. Our thanks to all. Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to uxb5@psu.edu. The following abbreviations apply throughout: D 2: Deming’s Bibliography of James Joyce Studies, 2d ed. S-C: Slocum and Cahoon’s Bibliography of James Joyce, 1882-1941. CC: Current JJ Checklist.

Current JJ Checklist (102)

Special thanks to Kazuhiro Doki, who has kept us well sup plied with issues of Joycean Japan, and to Teresa Caneda, Michael Cunningham, K. P. S. Jochum, Emily Sharpe, Andreas Weigel, and Wolfgang Wicht. Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to uxb5@psu.edu. The Checklists are cumulated online in The James Joyce Checklist http://research.hrc.utexas.edu/ jamesjoycechecklist /.

https://www.jstor.org/stable/info/20789629

William S. Brockman

Papers

Current JJ Checklist (116)

Current JJ Checklist (124)

Current JJ Checklist (110)

Current JJ Checklist (102)

Current JJ Checklist (107)