Showing papers in "James Joyce Quarterly in 2014"
TL;DR: This Checklist’s contributors: Sabrina Alonso, Krzysztof Bartnicki, Daniel Bristow, Michael Cunningham, K. P. S. Jochum, Richard Gerber, and Fritz Senn.
Abstract: Thanks to this Checklist’s contributors: Sabrina Alonso, Krzysztof Bartnicki, Daniel Bristow, Michael Cunningham, K. P. S. Jochum, Richard Gerber, and Fritz Senn. Please send contributions to your bibliographer at W329 Pattee, Pennsylvania State University, University Park, PA 16802, or via e-mail to w.s.brockman@gmail.com. The Checklists are cumulated online in The James Joyce Checklist
11 citations
TL;DR: The National Museum on Kildare Street, which Leopold Bloom visits in Ulysses, was an institution whose curatorial policies reflected ongoing debates about Ireland's cultural history and colonial status.
Abstract: The National Museum on Kildare Street, which Leopold Bloom visits in Ulysses, was an institution whose curatorial policies reflected ongoing debates about Ireland’s cultural history and colonial status. This essay argues that Ulysses reimagines the work of Ireland’s National Museum: where nationalists linked Irish identity to the ancient Celtic past through the Museum’s archaeological artifacts and loyalists and imperialists used the Museum’s administration to reaffirm Britain’s control over Ireland’s people and material history, Ulysses shows how the Museum could support alternative formulations of Irish identity. Additionally, the essay claims that Joyce represents the Blooms’ home as a museum of the ordinary, paralleling its collection to that of the National Museum. Although he uses both locations to suggest how museums might productively “curate” colonial people, Ulysses ultimately makes the case that museums could best represent life and identity in colonial Ireland through common domestic objects.
4 citations
TL;DR: A panorama is sketched out, an anthology of artistic inspiration, a multifarious comment on Joyce as discussed by the authors. But more than that, the radiation has a wider and more lasting effect than the sum total of our critical, scholarly comments and interpretations.
Abstract: A panorama is sketched out, an anthology of artistic inspiration, a multifarious comment on Joyce. But more than that. The radiation . . . has a wider and more lasting effect than the sum total of our critical, scholarly comments and interpretations.
4 citations
TL;DR: O’Brien & Modernism as mentioned in this paper offers a welcome reassessment of O’Nolan's encounters with international modernism through topics both familiar (Joyce, bicycles, drink) and novel (mathematics, masturbation, bullshit).
Abstract: T were the words with which Irish Times columnist “Myles na gCopaleen” greeted Seon Givens’s 1948 prestigious anthology James Joyce: Two Decades of Criticism.2 The bristling irony (and barely concealed enmity) of this evaluation of the era’s preeminent Joyce scholarship is hardly surprising for a figure who once petitioned the Irish Government to refuse a visa to “any American student unless he had undertaken, by affidavit on oath, not to do a ‘thesis’ on James Joyce and subsequently have it published as a book” (Lawn, 20 December 1961, 8). For most of the twentieth century, it seems, Irish studies took “Myles’s” hostility at face value. Until 1990, only one monograph was published about Brian O’Nolan,3 the man behind not only the notorious Cruiskeen Lawn column but also four novels under the nom de plume Flann O’Brien, and a miscellany of short stories, plays, and epistolary hoaxes using such unlikely pseudonyms as Count O’Blather, Brother Barnabas, and George Knowall. The scholarship that did appear in this period steadily reduced and marginalized O’Nolan’s complex and playfully antagonistic responses to Joyce “as the foot-stamping of a frustrated apprentice unable to better his literary master.”4 This critical commonplace had a suffocating effect on O’Nolan scholarship, crowding out his nuanced engagements with Irish contemporaries, continental innovators, traditional authorities, and popular culture. Indeed, reading O’Nolan’s broader canon against much of its previous criticism, we might be forgiven for the impression that the Joycean “anxiety of influence” emanates from the critic rather than the subject.5 Recent years have seen a sea change in O’Nolan studies, and “the traditional view of O’Nolan as a ‘lesser Joyce’ seems set to change.”6 Since the founding of the International Flann O’Brien Society in 2011, a biennial international conference and a peer-reviewed journal have been established,7 and six book-length studies of the writer published.8 Amid this reshaping of the field, Flann O’Brien & Modernism offers a welcome, and long overdue, reassessment of O’Nolan’s encounters with international modernism through topics both familiar (Joyce, bicycles, drink) and novel (mathematics, masturbation, bullshit). Rónán McDonald and Julian Murphet’s introduction announces
3 citations
TL;DR: The authors argue that a distinct anti-imperial politics can be located in the style of Ulysses, if style is construed not at the level of the sentence but rather at that of the word.
Abstract: Much criticism of Joyce falls into three camps: one that understands Joyce as an exemplar of artistic autonomy; another that finds in the author’s language a hybridity that resists the logic of colonialism; and a third that locates his works’ politics in their narrative material. This essay argues for a fourth position: that a distinct anti-imperial politics can be located in the style of Ulysses , if style is construed not at the level of the sentence but rather at that of the word. In the inauguration (in “Proteus”) and strategic and asymmetrical deployment (in “Scylla and Charybdis”) of the portmanteau, Joyce attempts to create a language that surpasses Standard English and the political project it supports.
3 citations
TL;DR: Translatin Joyce as discussed by the authors explores the unmistakable Joycean aesthetic in contemporary Spanish and Portuguese literature, highlighting the evident influence and countless Joycean expressions and connotations contained in modern Spanish and Portugal literary cornerstones.
Abstract: T book explores the unmistakable Joycean aesthetic in contemporary Spanish and Portuguese literature. The research conducted by the authors covers a significant gap in the literary criticism of current Spanish and Portuguese works by highlighting the evident influence and countless Joycean expressions and connotations contained in modern Spanish and Portuguese literary cornerstones. This text completes a historic circle that unites, above all, Spanish and English literature. While the impact of Miguel de Cervantes has been felt on both sides of the Atlantic, James Joyce has exerted, and continues to exert, a powerful transatlantic influence, through different channels, on the Spanish and Portuguese novel in both Europe and Latin America. Translatin Joyce opens debates about questions that have hitherto been rarely explored: Joycean aesthetics in contemporary Spanish and Portuguese literature. The title of the book, Translatin Joyce, amusingly plays on words to capture the essence of a text that analyzes translations of Joyce’s work to assess its globalizing Spanish and Portuguese dimensions. The use of the word “latin” could be misleading in that the work deals exclusively with literature in Spanish and Portuguese, overlooking the other languages spoken in the Iberian Peninsula, including Galician, Valencian, and Catalan, all of which have left their own literary marks on both sides of the Atlantic.1 Changing the scope of this book might be problematic, particularly given that the vast majority of Latin authors influenced by Joyce wrote first and foremost in Spanish or Portuguese. In the first chapter, Gayle Rogers stresses the importance of Antonio Marichalar and contends that he has been unfairly forgotten in modern academic circles, despite being an essential figure in the introduction of Joyce into Spain. Rogers explores the literary, cultural, and human aspects of Marichalar, devoting a large section to the man considered to be the first writer to present Ulysses to the Spanish-speaking world through his well-received article “James Joyce en su laberinto”2 in the Revista de Occidente,3 for, contrary to popular belief, the Argentinean writer Jorge Luis Borges was not the first Spanish speaker to read Ulysses.4 Rogers reveals the importance
3 citations
TL;DR: Yeats, The Collected Works of W. B. Yeats, Volume 14: A Vision, The Revised 1937 Edition (New York: Scribner’s Publishers, 2015).
Abstract: 2 For introductions to each movement, see Marjorie Levinson, “What Is New Formalism?” PMLA, 122 (1 March 2007), 558–69, and Yopie Prins, “Historical Poetics, Dysprosody, and ‘The Science of English Verse,’” PMLA, 123 (1 January 2008), 229–34. 3 Yeats, The Wanderings of Oisin and Other Poems (London: Paul Trench, 1889). 4 Yeats, The Collected Works of W. B. Yeats, Volume 13: A Vision, The Original 1925 Version (New York: Scribner’s Publishers, 2008), and The Collected Works of W. B. Yeats, Volume 14: A Vision, The Revised 1937 Edition (New York: Scribner’s Publishers, 2015). 5 Yeats, The Variorum Edition of the Poems of W. B. Yeats, ed. Peter Allt and Russell K. Alspach (New York: Macmillan Publishers, 1957). 6 Lara Marlowe, “Yeats: Papers Confirm Bones Sent to Sligo Were Not Poet’s,” The Irish Times (18 July 2015), n.p. 7 Yeats, Purgatory, The Collected Works of W. B. Yeats, ed. David R. Clark and Rosalind E. Clark (New York: Scribner’s Publishers, 2001), pp. 537-44. 8 See the Leventhal Collection in the Harry Ransom Humanities Research Center, University of Texas at Austin.
3 citations
TL;DR: The authors explores the ways in which time and temporality in James Joyce's Finnegans Wake are ecologically inflected, and provides an epic framework for his vision of the inter-involvement of human rhythms with the cyclical processes of the nonhuman world.
Abstract: This essay explores the ways in which time and temporality in James Joyce’s Finnegans Wake are ecologically inflected. In a book that insistently anchors human civilization to the limits and contours of the physical landscape, Joyce articulates a form of temporality that anticipates contemporary ecological conceptions of temporal cycles of adaptation and resilience. The structure of his final work offers a model for understanding the relationship between micro and macro temporal systems: between the smaller, chaotic fluctuations of temporal transformation and the larger-world historical cycles of temporal change. Constructing his text as what contemporary resilience ecologists would call a “panarchy,” Joyce provides an epic framework for his vision of the inter-involvement of human rhythms with the cyclical processes of the nonhuman world while demonstrating literary modernism’s investment in questions that have since become urgent about the earth’s survival in the face of increasingly destructive human cycles.
3 citations
TL;DR: Exiles is a play about the artist as a speculator as discussed by the authors, and the play's estrangement techniques, which are documented in its stage directions, Joyce's preparatory notes, and Richard's speculative ethical experiments, demonstrate this other dimension of Ibsenite affinity.
Abstract: Exiles is a play about the artist as a speculator. This essay uses Franco Moretti’s interpretation of Henrik Ibsen as the dramatist of the “grey area” of finance capitalism to read Richard Rowan’s ethical manipulation of the play’s other characters. The play’s estrangement techniques, which are documented in its stage directions, Joyce’s preparatory notes, and Richard’s speculative ethical experiments, demonstrate this other dimension of Ibsenite affinity.
3 citations
TL;DR: The OED 3 (2000-) currently features 2,422 Joyce citations, many of those from the OED 2 (1989) have been removed for reasons that are unclear as discussed by the authors.
Abstract: James Joyce’s Ulysses and the Oxford English Dictionary (OED) are unusual texts. Both are epic in scope; both make countless references to other works and explicitly absorb much of the preceding literature; both aim to set new creative and intellectual standards. Politically, the works are vastly different. While the OED aimed to document the (morally acceptable) established lexis, Joyce wished to challenge and redefine it. His liberalism with language and subject matter excluded references to his work from the OED for several decades. Ironically, while the first edition of the OED (in 1928) does not cite Joyce nor, to our knowledge, does its 1933 supplement, the OED 2 (1989) adds over 1,800 Joyce citations. Whereas the OED 3 (2000-) currently features 2,422 Joyce citations, many of those from the OED 2 have been removed for reasons that are unclear. Joyce is an example of the changeable place of modernist literature in the OED.
3 citations
TL;DR: The James Joyce Checklist as mentioned in this paper is a collection of checklists written by the authors of the first edition of The James Joyce Book of Selected Works (1961) and the second edition of the third edition (1992).
Abstract: T to this Checklist’s contributors: Sabrina Alonso, Harald Beck, Ronan Crowley, Wilhelm Füger, Richard Gerber, Michael Groden, K. P. S. Jochum, Derek Pyle, Friedhelm Rathjen, Liliane Rodriguez, Fritz Senn, Robert Spoo, and Rick Watson. 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
TL;DR: The authors argue that a true understanding of the comic element in A Portrait of the Artist as a Young Man requires that we consider laughter from a real-world perspective, in effect, as a social signal evolved to communicate positive affect.
Abstract: Taking its cue from recent work on the social and psychological dimensions of laughter, this article argues that a true understanding of the comic element in A Portrait of the Artist as a Young Man requires that we consider laughter from a real-world perspective, in effect, as a social signal evolved to communicate positive affect. Fluctuations of Stephen’s understanding of laughter as a social signal mirror the fluctuations of the novel’s structure. This parallel loses coherence, however, if laughter is considered independently of laughter’s universal association with joyous emotions. This is not to say that joy is always the dominant message every time a laugh appears on the face of Stephen and his classmates. The conflict that arises between the understanding that laughter always relates to joy, and the reality that joy is not always the dominant signified in contexts inspiring laughter, underlies much of Stephen’s characterization.
TL;DR: The travel diaries of Ireland's best-selling travel diary as discussed by the authors were used by Joyce to explore the possible intention behind Joyce's use of this best-sellers: sly allusion, coloration, critique, private game, aide-mémoire, or reflection on modernist intertextuality.
Abstract: Victoria’s best-selling travel diaries and ponders eloquently upon the possible intention behind Joyce’s use of this best-seller: sly allusion, coloration, critique, private game, aide-mémoire, or reflection on modernist intertextuality? He passes over the fact that the majority of the transferred notes (six out of ten) are woven into “Penelope,” so he does not pursue how far in Molly’s imagination she witnesses a degree of colonization by this monarch’s discourse. The collection concludes with a finely researched and mostly convincing chapter written by Keith Williams about magic “lanternism,” a widespread form of “cinematicity” before the cinema had established itself (215). The detailed textual focus is on Dubliners and its internalized dramas of memory, fantasy, and self-illusion. Perhaps more could have been said about how the psychological realism of Joyce and others is both a symptom and a critique of the way the inner eye was transforming under new conditions of scopic modernity. I have suggested several missed opportunities in this review; it is true that there is no treatment of anything relating to Catholicism in the nineteenth century, which ought to feel like an omission, but, in fact, the collection is too rich in detail for any lack to be felt. Several of the essays (I would point to those by Williams, Savige, and Nash) will instigate and influence future Joycean research.
TL;DR: The authors examines the Circean motif of "locomotor ataxia" in the context of Benedict de Spinoza's account of the mind's inability to control the body in his 1677 Ethics.
Abstract: This essay examines the Circean motif of “locomotor ataxia” in the context of Benedict de Spinoza’s account of the mind’s inability to control the body in his 1677 Ethics . For Joyce and for Spinoza, the decoupling of body from mind removes the grounds for human transcendence over nonhuman animals and creates new modes of relation between human and animal beings. In “Circe,” Joyce uses metaphor to collapse distinctions between figurative and literal language and between human and animal bodies. Metaphor, in other words, becomes an immanent field in which which different orders of the body interact. This interaction occurs both spatially, regarding the other bodies Bloom encounters and cannot separate himself from, and temporally, regarding Bloom’s family lineage, which becomes mediated through physicalized animal bodies that disrupt the idea of paternal succession as an abstract passage of the name across generations.
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TL;DR: In a follow-up letter from Joyce to Harriet Shaw Weaver as discussed by the authors, he wrote: "I have almost finished the first part and have written out part of the middle and end. The whole book, I hope (if I can return to Trieste provisionally or temporarily in October) will be finished about December after which I shall sleep for six months" (12 July 1920, SL 266).
Abstract: following letters from Joyce to Harriet Shaw Weaver: “I have almost finished the first part and have written out part of the middle and end. I hope to finish it [Ulysses] in 1918” (10 October 1916, LettersII 387), and “A great part of the nostos or close was written several years ago and the style is quite plain. The whole book, I hope (if I can return to Trieste provisionally or temporarily in October) will be finished about December after which I shall sleep for six months” (12 July 1920, SL 266). 3 Hugh Kenner, “Ulysses,” rev. ed. (Baltimore: Johns Hopkins Univ. Press, 1987), p. 142. Further references will be cited parenthetically in the text. 4 British Library ADD MS 49975, f. 24v, and see JJA 12:74. Also see Phillip F. Herring, ed., Joyce’s “Ulysses” Notesheets in the British Museum (Charlottesville: Univ. Press of Virginia, 1972), p. 422. This is Herring’s “Ithaca” notesheet 2, entry 59. 5 See JJI 388; Robert M. Adams, Surface and Symbol: The Consistency of James Joyce’s “Ulysses” (New York: Oxford Univ. Press, 1962), p. 37; and David Hayman, “The Empirical Molly,” Approaches to “Ulysses”: Ten Essays, ed. Thomas F. Staley and Bernard Benstock (Pittsburgh: Univ. of Pittsburgh Press, 1970), pp. 113-14. 6 See the color photo-facsimile reproduction of this manuscript page in “Ulysses”: A Facsimile of the Manuscript, intro. Harry Levin, preface Clive Driver, vols. 1-3 (New York: Faber and Faber, with the Philip H. & A. S. W. Rosenbach Foundation, 1974), Rosenbach “Ithaca” Blue MS, 2:27. 7 Joyce based some aspects of Molly’s relationship with Harry Mulvey on Nora Barnacle’s early romance with William Mulvagh in Galway—see JJI 164-65 and JJII 158-59—but altered and transformed the elements he needed for his fiction. 8 This manuscript is the Ulysses Placard III-12.i, which Joyce emended in mid-to-late December 1921; see JJA 21:125.
TL;DR: Theodor W. Adorno and John Crowe Ransom as mentioned in this paper argued that "Art Worries the Naturalists: Who in Turn Worry the Arts with Organism, Fusion, Funding".
Abstract: 1 See Theodor W. Adorno, “A Social Critique of Radio Music,” and John Crowe Ransom, “Art Worries the Naturalists: Who in Turn Worry the Arts with Organism, Fusion, Funding,” Kenyon Review, 7 (Spring 1945), 208-17, 28299, and Adorno, “Theses Upon Art and Religion Today,” and Ransom, “Art and the Human Economy,” Kenyon Review, 7 (Autumn 1945), 677-82, 683-88. 2 Cleanth Brooks and Robert Penn Warren, Understanding Poetry: An Anthology for College Students (New York: H. Holt, 1938). 3 See William Carlos Williams, “XXII,” Spring and All (1923; Long Beach, Calif.: Frontier Press, 1970), p. 78. 4 See Edward Soja, Postmodern Geographies: The Reassertion of Space in Critical Social Theory (New York: Verso Press, 1989).
TL;DR: This paper used a psychoanalytic approach that privileges the role of displacement over Freudian kinship dynamics, and pointed out that Bloom's nostalgia for the past is always accompanied by some documentation of a displacement of Milly that is never quite registered; they cue the reader to imagine a reproductive futurity for Bloom outside the son-as-heir model of inheritance.
Abstract: What little criticism exists on the function of Milly Bloom in Ulysses discusses her in the narrow roles of a younger version of Molly and/or as the object of Bloom’s incestuous desire. While the Telemachean plot does lend Oedipal interpretation to Ulysses , it is by focusing more narrowly on Milly’s ubiquitous presence and displacement in Bloom’s moments of inheritance anxiety that her significance becomes apparent. Using a psychoanalytic approach that privileges the role of displacement over Freudian kinship dynamics, we can see that Bloom’s nostalgia for the past is always accompanied by some documentation of a displacement of Milly that is never quite registered. These crucial moments, or blind spots, point to Milly’s role in inheritance that is almost always avowed but never fully recognized; they cue the reader to imagine a reproductive futurity for Bloom outside the son-as-heir model of inheritance—the possibility of daughter-as-heir or non-sex-bound succession.
TL;DR: This paper examined the book reviews that James Joyce wrote for the Daily Express in 1902 and 1903 and found early traces of stylistic motifs common to his mature fictional writing, which is a distinctive insight into the young Joyce's continuing experiments with prose.
Abstract: This study examines the book reviews that James Joyce wrote for the Daily Express in 1902 and 1903, finding there early traces of stylistic motifs common to his mature fictional writing. Because these are works of nonfiction, they present some unusual opportunities for analysis and offer a distinctive insight into the young Joyce’s continuing experiments with prose. In addition to drawing attention to an otherwise little-studied area of his work, this continuity of style over a discontinuity of genre is an instructive resource when considering Joyce’s later achievements and his stylistic development as a whole.
TL;DR: Ngai et al. as discussed by the authors discuss the relationship between love, feeling backward, and the politics of queer history in the context of the Ugly Feelings project.
Abstract: 1 Marcel Proust, In Search of Lost Time (London: Vintage, 1992). 2 Sigmund Freud, Beyond the Pleasure Principle, The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey et al. (London: Hogarth Press, 1920-1922), 8:7-64. 3 Laura Frost discusses, for instance, Jean Rhys’s After Leaving Mr. Mackenzie (London: Deutsch, 1930), and Good Morning, Midnight (London: Constable, 1939), and Patrick Hamilton’s Twenty Thousand Streets Under the Sky: A London Trilogy (London: Constable, 1935). 4 See Sianne Ngai, Ugly Feelings (Cambridge: Harvard Univ. Press, 2005), and Heather K. Love, Feeling Backward: Loss and the Politics of Queer History (Cambridge: Harvard Univ. Press, 2007).
TL;DR: In this paper, the authors explore Ellmann's idea that not only the work of W. B. Yeats but also a poem, Recreant, by the now-obscure theosophist poet Paul Gregan may have played a shaping role.
Abstract: Abstract: This investigation derives from comments by Richard Ellmann about the composition of the final lyric in Joyce’s Chamber Music (1907). I explore his idea that not only the work of W. B. Yeats but also a poem, “Recreant,” by the now-obscure theosophist poet Paul Gregan may have played a shaping role. The Gregan poem is presented in full, analyzed, and compared to Joyce’s lyric XXXVI, “I hear an army.” Gregan’s clear debt to “A Lament for the Tyronian and Tyrconnellian Princes Buried at Rome” by James Clarence Mangan is discussed as another potential source for Joyce’s lyric. Mangan’s poem concerns Ireland’s political subordination, and Gregan’s reflects issues related to the freedom of the artist in the midst of national turmoil. Seeing elements of these poems in lyric XXXVI weakens the link to the largely apolitical Yeatsian source and extends the lyric’s concerns to later Joycean themes in A Portrait of the Artist as a Young Man and “Eveline.”
TL;DR: The similarities between Newman and Vico's thinking about rhetoric and probability, however, support a shift from Newman to Vico as Joyce's mentors in Ulysses as discussed by the authors, where Newman's prose style is relegated to being a stage in the history of English prose, while Joyce's history of prose in “Oxen of the Sun” is inspired by Vico’s cycles.
Abstract: James Joyce’s writing career follows a trajectory from John Henry Newman to Giambattista Vico. In A Portrait of the Artist as a Young Man , Newman is invoked repeatedly as a model of the aloof, isolated artist. The similarities between Newman and Vico’s thinking about rhetoric and probability, however, support a shift from Newman to Vico as Joyce’s mentors in Ulysses . In that work, Newman’s prose style, so celebrated in A Portrait , is relegated to being a stage in the history of English prose, while Joyce’s history of prose in “Oxen of the Sun” is inspired by Vico’s cycles. Ulysses problematizes the aesthetics propounded in A Portrait , dramatizing the paradoxical relation of the artist to his national history and language. In Finnegans Wake , Joyce not only embraces Vico’s cyclical theory of history but also his concept of a sensus communis that allows him to situate the artist within a linguistic and cultural tradition.
TL;DR: The complexity of Joyce's texts enables readers to connect with their own personal narratives, which then countersign, equivocate, and disseminate the work as mentioned in this paper, and Attridge pursues a legal line of inquiry in terms of the affirming power of signature, countersignature, and doing justice to a literary work.
Abstract: approach, and Attridge pursues a legal line of inquiry in terms of the affirming power of signature, countersignature, and doing “justice to a literary work” (265). He ends with Derrida’s important turn toward the “double laughter” in Joyce’s attempt at totality and the undermining of that endeavor (277). The complexity of Joyce’s texts enables readers to connect with their own personal narratives, which then countersign, equivocate, and disseminate the work. These last two essays personalize their authors as Derrida similarly does for himself in his lively commentaries on Joyce.
TL;DR: With the ghosts of his family and his people, seems to bear out, at least in part, Schultz's argument about the emancipating effects of the spectral, but the girl at the center of Burns's story appears unable to escape from the trauma of history and experiences recurrent breakdowns and psychosis as discussed by the authors.
Abstract: with the ghosts of his family and his people, seems to bear out, at least in part, Schultz’s argument about the emancipating effects of the spectral, but the girl at the center of Burns’s story appears unable to escape from the trauma of history and experiences recurrent breakdowns and psychosis. Haunted Historiographies concludes with an account of World War II and neutrality in Samuel Beckett, finding a similar polemic to Barry’s in Waiting for Godot.7 This is a generally well-informed study that makes ingenious use of the spectral in relation to a range of diverse texts. But Schultz is occasionally overcommitted to the virtues of ambiguity, and he tends to assume that this narrative mode produces broadly similar politics. The novelists are as influenced by various circumstances and commitments as other participants in these debates about the past, and perhaps no one style of telling a story allows us to escape the nightmares of history or to claim that old disputes can now be laid to rest.
TL;DR: In this article, a typology of particulars was developed to distinguish credible and specious euphony in the Joyce oeuvre, and the reader, the source of the sounds in reception, may have recourse to the typology developed when distinguishing credible resonance from its impostors.
Abstract: This essay studies a primary attribute of the Joyce oeuvre , its phonological resonance, and seeks ways to distinguish credible resonance, or believable euphony, from resonance that is not. To do so, the essay develops a typology of particulars when looking at passages in episode 3 of Ulysses , a string of fragments in part II of A Portrait of the Artist as a Young Man , and several moments in Chamber Music, Dubliners , and Finnegans Wake . The essay finds that resonance—the patterning of foregrounded sounds, whether phonemes, syllables, or the tone units of intonation—becomes more noteworthy as the Joyce oeuvre unfolds, and that, after “Aeolus” in Ulysses , it is increasingly difficult to say when the euphony is believable. The essay argues that distinctions between credible and specious resonance are semantic in nature and that the reader, the source of the sounds in reception, may have recourse to the typology of particulars developed when distinguishing credible resonance from its impostors.
TL;DR: This paper presented thirty-one additions to the secondary bibliography on Joyce, all of which appeared in United States publications prior to the court case involving the serialization of Ulysses in the Little Review in 1921.
Abstract: Presented here are thirty-one additions to the secondary bibliography on Joyce, all of which—reviews and notices—appeared in United States publications prior to the court case involving the serialization of Ulysses in the Little Review in 1921. The items, transcribed in their entirety, are presented chronologically, beginning in 1916 and ending in 1920.