Search results for ""Author Joyce"

Joyce was the first Modernist to use the religious term epiphany to describe an unexpected insight, often within a trivial, mundane biographical or fictional context. But prose fiction around 1900 is full of similar concepts under various names: moment of vision, moment of being, anderer Zustand, mémoire involontaire. This book asks three questions: Where does the concept of the epiphanic moment come from? What does it look like? Why was it so valuable for prose fiction around 1900? Finally the study looks at the present use of the term only to discover that «epiphany» has recently had an astonishing comeback – even Homer Simpson has had his epiphany.

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"Polhemus sketches several distinctions between nineteenth- and twentieth-century novelists and concludes that what most characterizes the nineteenth century, from the perspective of the twentieth, is the tendency in its comic fiction to criticize and to undermine the dogma and institutions of religion and to put faith instead of the existence of the comic perspective. Comic Faith is a virtuoso performance of impressive stature; I suspect the book will be influential for many years to come."—John Halperin, Modern Fiction Studies

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An intimate study of three of Ireland's greatest writers from one of its best-loved contemporary voices, Colm Tóibín__________________In Mad, Bad, Dangerous to Know Colm Tóibín takes three of Ireland's greatest writers - Oscar Wilde, W.B. Yeats and James Joyce - and examines their earliest influences: their fathers. With his inimitable wit and sensitivity, Tóibín introduces us to Wilde Senior, the philandering doctor whose libel case prefigured that of his son; the elder Yeats, an impoverished artist who never finished a painting; and to John Stanislaus Joyce, the hard-drinking, storytelling father of James, who couldn't feed his own family. This is an illuminating study of how each of these men cast a long shadow not only over the lives of their famous sons, but over the works for which they are celebrated and cherished.__________________'Astonishing to read. Tóibín has a hawk-like eye for literary subtleties, and a generosity towards his subjects that is warm' Sunday Times'Funny, exciting, illuminating, wonderful, so engaging. Tells us more than a little about our own selves along the way' Irish Times'There is something interesting and insightful on almost every page' Observer'Sparkling, subtle, witty and often deeply moving . . . A classic' Fintan O'Toole, New Statesman'Scintillating, imaginative, enlightening and powerfully moving throughout' Roy Foster, Spectator

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Two ways of understanding the aesthetic organization of literary works have come down to us from the late 18th century and dominate discussions of European modernism today: the aesthetics of autonomy, associated with the self-sufficient work of art, and the aesthetics of fragmentation, practiced by the avant-gardes. In this revisionary study, Leonardo Lisi argues that these models rest on assumptions about the nature of truth and existence that cannot be treated as exhaustive of modernist form. Lisi traces an alternative aesthetics of dependency that provides a different formal structure, philosophical foundation, and historical condition for modernist texts. Taking Europe's Scandinavian periphery as his point of departure, Lisi examines how Søren Kierkegaard and Henrik Ibsen imagined a response to the changing conditions of modernity different from those at the European core, one that subsequently influenced Henry James, Hugo von Hofmannsthal, Rainer Maria Rilke, and James Joyce. Combining close readings with a broader revision of the nature and genealogy of modernism, Marginal Modernity challenges what we understand by modernist aesthetics, their origins, and their implications for how we conceive of our relation to the modern world.

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A new look at the development of innovative postwar writing in France, Britain, and the United States. The Avant-Postman explores a broad range of innovative postwar writing from France, Britain, and the United States. Taking James Joyce’s Ulysses and Finnegans Wake as a joint starting point, David Vichnar draws genealogical lines from there through the work of more than fifty writers up to very recent years, including William Burroughs, B. S. Johnson, Ian Sinclair, Kathy Acker, Alan Moore, David Foster Wallace, and many others. Centering the exploration around five strategies employed by Joyce—narrative parallax, stylistic metempsychosis, concrete writing, forgery, and neologizing the logos—the book reveals the striking continuities and developments from Joyce’s day to our own.

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A provocative history of Ulysses and the Easter Rising as harbingers of decolonization. When revolutionaries seized Dublin during the 1916 Easter Rising, they looked back to unrequited pasts to point the way toward radical futures—transforming the Celtic Twilight into the electric light of modern Dublin in James Joyce’s Ulysses. For Luke Gibbons, the short-lived rebellion converted the Irish renaissance into the beginning of a global decolonial movement. James Joyce and the Irish Revolution maps connections between modernists and radicals, tracing not only Joyce’s projection of Ireland onto the world stage, but also how revolutionary leaders like Ernie O’Malley turned to Ulysses to make sense of their shattered worlds. Coinciding with the centenary of both Ulysses and Irish independence, this book challenges received narratives about the rebellion and the novel that left Ireland changed, changed utterly.

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A provocative history of Ulysses and the Easter Rising as harbingers of decolonization. When revolutionaries seized Dublin during the 1916 Easter Rising, they looked back to unrequited pasts to point the way toward radical futures—transforming the Celtic Twilight into the electric light of modern Dublin in James Joyce’s Ulysses. For Luke Gibbons, the short-lived rebellion converted the Irish renaissance into the beginning of a global decolonial movement. James Joyce and the Irish Revolution maps connections between modernists and radicals, tracing not only Joyce’s projection of Ireland onto the world stage, but also how revolutionary leaders like Ernie O’Malley turned to Ulysses to make sense of their shattered worlds. Coinciding with the centenary of both Ulysses and Irish independence, this book challenges received narratives about the rebellion and the novel that left Ireland changed, changed utterly.

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*One Dublin One Book choice for 2022* *Shortlisted for an Irish Book Award 2021* When Nora Barnacle, a twenty-year-old from Galway working as a maid at Finn’s Hotel, meets young James Joyce on a summer’s day in Dublin, she is instantly attracted to him, natural and daring in his company. But she cannot yet imagine the extraordinary life they will share together. All Nora knows is she likes her Jim enough to leave behind family and home, in search of a bigger, more exciting life. As their family grows, they ricochet from European city to city, making fast friends amongst the greatest artists and writers of their age as well as their wives, and are brought high and low by Jim’s ferocious ambition. But time and time again, Nora is torn between their intense and unwavering desire for each other and the constant anxiety of living hand-to-mouth, often made worse by Jim’s compulsion for company and attention. So, while Jim writes and drinks his way to literary acclaim, Nora provides unflinching support and inspiration, sometimes at the expense of her own happiness, and especially at that of their children, Giorgio and Lucia. Eventually, together, they achieve some longed-for security and stability, but it is hard-won and imperfect to the end. In sensuous, resonant prose, Nuala O’Connor has conjured the definitive portrait of this strong, passionate and loyal Irishwoman. Nora is a tour de force, an earthy and authentic love letter to Irish literature’s greatest muse.

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I love fire. Fire is the colour of genius.In this audacious new work, Edna O'Brien gives voice to the women who were central to the life of James Joyce.'James Joyce had been my ultimate hero for sixty years, but to paint the canvas of his life was daunting. Therefore I decided to depict him as seen by the key figures in his life - Mother, Wife, Mistress of a fleeting moment, his patron Harriet Weaver and his beloved Daughter Lucia, of whom he said her mind was but a transparent leaf away from his.'Written to celebrate the centenary of Ulysses, Joyce's Women premiered at the Abbey Theatre, Dublin, in September 2022. This revised edition includes changes made by the author during rehearsals and previews of the play's first production.

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In Scandal Work: James Joyce, the New Journalism, and the Home Rule Newspaper Wars, Margot Gayle Backus charts the rise of the newspaper sex scandal across the fin de siècle British archipelago and explores its impact on the work of James Joyce, a towering figure of literary modernism. Based largely on archival research, the first three chapters trace the legal, social, and economic forces that fueled an upsurge in sex scandal over the course of the Irish Home Rule debates during James Joyce’s childhood. The remaining chapters examine Joyce’s use of scandal in his work throughout his career, beginning with his earliest known poem, “Et Tu, Healy,” written when he was nine years old to express outrage over the politically disastrous Parnell scandal. Backus’s readings of Joyce’s essays in a Trieste newspaper, the Dubliners short stories, Portrait of the Artist, and Ulysses show Joyce’s increasingly intricate employment of scandal conventions, ingeniously twisted so as to disable scandal’s reifying effects. Scandal Work pursues a sequence of politically motivated sex scandals, which it derives from Joyce's work. It situates Joyce within an alternative history of the New Journalism’s emergence in response to the Irish Land Wars and the Home Rule debates, from the Phoenix Park murders and the first Dublin Castle scandal to “The Maiden Tribute of Modern Babylon” and the Oscar Wilde scandal. Her voluminous scholarship encompasses historical materials on Victorian and early twentieth-century sex scandals, Irish politics, and newspaper evolution as well as providing significant new readings of Joyce’s texts.

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Between 1844 and 1868, three women were tried and found guilty of the brutal murder of members of their family by poison at the Lincoln Assizes. Two of them, Eliza Joyce and Priscilla Biggadike, were hanged; the third, Mary Ann Milner, committed suicide in her cell, hours before she was due to be executed. Drawing upon archive sources and the many divergent accounts in the popular press at the time, Attired in Deepest Mourning is the first comprehensive study of all three cases. It analyses in forensic detail the information, misinformation and fake news which defined the lives and deaths of three Lincolnshire women, both at the time, and subsequently. In addition, it presents hitherto unpublished material which takes the reader beyond the hackneyed narrative of the monstrous female poisoner to a more sympathetic understanding of the pressures and circumstances in which the women lived and died. Attired in Deepest Mourning is a local study which provides a valuable contribution to a full understanding of crime and punishment in mid-Victorian Britain.

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James Joyce has written that 'the man of genius makes no mistakes; his errors are the portals of discovery.' In Joyces Mistakes, Tim Conley explores the question of what constitutes an 'error' in a work of art. Using the works of James Joyce, particularly Ulysses and Finnegans Wake, as central exploratory fields, Conley argues that an 'aesthetic of error' permeates Joyce's literary productions; readers and criticism of Joyce's texts are inevitably affected by a slippery dialectic between the possibility of mistake and the potential for irony.Outlining modernism's struggle with textual authority and completion, Conley locates Joyce among his literary contemporaries, including Herman Melville, Marianne Moore, Ezra Pound, and Marcel Proust. He finds that Joyce's reconfigurations of authorial presence and his error-generating methods problematize all attempts to edit, anthologize, and even quote or cite his texts. Yet Conley goes well beyond cataloguing the instances where error is at issue in Joyce's canon; he offers a comprehensive, engaging look at theories of error. He extends his analysis of Joyce to examine the radical reshaping of cognition by 'the textual condition' (McGann), and suggests that the act of reading's propensity for diversity of error makes 'misreadings' valuable critical experiments and the basis of literary theory.Joyces Mistakes is an absorbing and sophisticated work, a portal of discovery in its own right.

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Looking at the writing of three significant Irish expatriates, Nels Pearson challenges conventional critical trends that view their work as either affirming Irish anti-colonial sentiment or embracing international identity. In reality, he argues, these writers constantly work back and forth between a sense of national belonging that remains incomplete and ideas of human universality tied to their new global environments. For these and many other Irish writers, national and international concerns do not conflict, but overlap—and the interplay between them motivates Irish modernism.According to Pearson, Joyce’s Ulysses strives to articulate the interdependence of an Irish identity and a universal perspective; Bowen’s exiled, unrooted characters are never firmly rooted in the first place; and in Beckett, the unsettled origin is felt most keenly when it is abandoned for exile. These writers demonstrate the displacement felt by many Irish citizens in an ever-changing homeland unsteadied by long and turbulent decolonization. Searching for a sense of place between national and global abstractions, their work displays a twofold struggle to pinpoint national identity while adapting to a fluid cosmopolitan world.

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Innovative literary form examined from the point of view of the reader's experience Invites a reconsideration of the importance of the formal features of the novel Argues for a focus on the reader's experience of literary form Traces the impact of the modernist revolution on later writers Considers writing from several countries, including Ireland, New Zealand, the Netherlands, South Africa, Scotland, Pakistan and England The formal innovations of the modernist novelists have continued to reverberate to the present day, less importantly as a matter of imitation and more as a stimulus to further innovation. Focusing on the experience of the reader in engaging with a selection of these works from around the globe, this book argues that a rigorous attention to formal features is crucial in appreciating their achievement and in understanding the impact of the early modernists on the history of the novel. Joyce's Ulysses is given particular attention for its feats of formal invention and as an inspiration for many later writers. Among the facets of modernist writing explored are the separation of content and form, the transgression of linguistic boundaries, the defiance of lexical and syntactic rules, the deployment realist techniques to present the unreal, the political significance of literary form, and the relation between formal innovation and affect.

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In the Company of Strangers shows how a reconception of family and kinship underlies the revolutionary experiments of the modernist novel. While stories of marriage and long-lost relatives were a mainstay of classic Victorian fiction, Barry McCrea suggests that rival countercurrents within these family plots set the stage for the formal innovations of Joyce and Proust. Tracing the challenges to the family plot mounted by figures such as Fagin, Sherlock Holmes, Leopold Bloom, and Charles Swann, McCrea tells the story of how bonds generated by chance encounters between strangers come to take over the role of organizing narrative time and give shape to fictional worlds-a task and power that was once the preserve of the genealogical family. By investigating how the question of family is a hidden key to modernist structure and style, In the Company of Strangers explores the formal narrative potential of queerness and in doing so rewrites the history of the modern novel.

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Finish the day as you began: devoting time to God. Joyce Meyer's pocket sized devotional will help you end your day right.

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This text covers Joyce's writing in terms of music and evaluates the music - its form, kind and technique - in each work. Using Joyce's own rhetoric of theme and variation, the author moves from one character to another, through the poems, fiction and drama.

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In Scandal Work: James Joyce, the New Journalism, and the Home Rule Newspaper Wars, Margot Gayle Backus charts the rise of the newspaper sex scandal across the fin de siècle British archipelago and explores its impact on the work of James Joyce, a towering figure of literary modernism. Based largely on archival research, the first three chapters trace the legal, social, and economic forces that fueled an upsurge in sex scandal over the course of the Irish Home Rule debates during James Joyce’s childhood. The remaining chapters examine Joyce’s use of scandal in his work throughout his career, beginning with his earliest known poem, “Et Tu, Healy,” written when he was nine years old to express outrage over the politically disastrous Parnell scandal. Backus’s readings of Joyce’s essays in a Trieste newspaper, the Dubliners short stories, Portrait of the Artist, and Ulysses show Joyce’s increasingly intricate employment of scandal conventions, ingeniously twisted so as to disable scandal’s reifying effects. Scandal Work pursues a sequence of politically motivated sex scandals, which it derives from Joyce's work. It situates Joyce within an alternative history of the New Journalism’s emergence in response to the Irish Land Wars and the Home Rule debates, from the Phoenix Park murders and the first Dublin Castle scandal to “The Maiden Tribute of Modern Babylon” and the Oscar Wilde scandal. Her voluminous scholarship encompasses historical materials on Victorian and early twentieth-century sex scandals, Irish politics, and newspaper evolution as well as providing significant new readings of Joyce’s texts.

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El libro que muchos consideran la mejor novela del idioma inglés estuvo prohibido por obsceno durante más de una década en la gran mayoría del mundo angloparlante. Una porción de la misma fue quemada en París cuando aún no había pasado de borrador y condenada en Nueva York por ?impúdica y lasciva? cuando todavía se estaba publicando por entregas. Joyce, con el apoyo de varios de los más importantes editores y escritores de su tiempo, tuvo que pelear durante años para obtener el derecho a publicar su novela en Inglaterra y Estados Unidos. "El libro más peligroso" narra la extraordinaria historia de "Ulises", desde los primeros apuntes de Joyce en 1904 hasta su tercer y decisivo juicio federal por obscenidad en 1933. Escrito tanto para joyceanos de pro como para novicios que deseen desentrañar los secretos de una de las obras capitales del siglo XX, narra la apasionante crónica sobre cómo la novela de Joyce fue concebida, escrita, publicada, quemada, aclamada, perseguida, juzgada y vilip

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The author examines motherhood and female self-realization in feminist discourse and Joyce Carol Oates’s recent fiction. While the first and second wave of feminism repudiated motherhood, the third wave claimed the right to enjoy it. The present fourth wave is now reviving the reservations about motherhood of the first two waves. This book demonstrates how Oates’s writing reflects these shifts and how Oates takes up and transforms feminist standpoints in her work without writing conventional feminist literature. Literary criticism has only marginally dealt with Oates’s mother figures. Drawing on Gender Studies and, in particular, on the transnational relation between French and American feminism, this book fills this gap.

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How does recent scholarship on ethnicity and race speak to the Jewish dimension of James Joyce’s writing? What light has Joyce himself already cast on the complex question of their relationship? This book poses these questions in terms of models of the other drawn from psychoanalytic and cultural studies and from Jewish cultural studies, arguing that in Joyce the emblematic figure of otherness is “the Jew.” The work of Emmanuel Levinas, Sander Gilman, Gillian Rose, Homi Bhabha, among others, is brought to bear on the literature, by Jews and non-Jews alike, that has forged the representation of Jews and Judaism in this century. Joyce was familiar with this literature, like that of Theodor Herzl. Joyce sholarship has largely neglected even these sources, however, including Max Nordau, who contributed significantly to the philosophy of Zionism, and the literature on the “psychobiology” of race—so prominent in the fin de siècle—all of which circulates around and through Joyce’s depictions of Jews and Jewishness. Several Joyce scholars have shown the significance of the concept of the other for Joyce’s work and, more recently, have employed a variety of approaches from within contemporary deliberations of the ideology of race, gender, and nationality to illuminate its impact. The author combines these approaches to demonstrate how any modern characterization of otherness must be informed by historical representations of “the Jew” and, consequently, by the history of anti-Semitism. She does so through a thematics and poetics of Jewishness that together form a discourse and method for Joyce’s novel.

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Phillip Herring distinguishes the solvable problems from the truly insolvable mysteries in Joyce studies. His unusual and often witty book contains enough background material to appeal to a beginning reader of Joyce, yet it will be of the utmost importance to the specialist. He argues that Joyce formulated an uncertainty principle as early as the first Dubliners story and that he continued to engineer impossible-to-resolve mysteries" through his creation of literature's most radical experiment, Einnegans Wake. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Modernists and the Theatre examines how six key modernists, who are best known as poets and novelists, engaged with the realm of theatre and performance. Drawing on a wealth of unfamiliar archival material and fresh readings of neglected documents, James Moran demonstrates how these literary figures interacted with the playhouse, exploring W.B. Yeats’s earliest playwriting, Ezra Pound’s onstage acting, the links between James Joyce’s and D.H. Lawrence’s sense of drama, T.S. Eliot’s thinking about theatrical popularity, and the feminist politics of Virginia Woolf’s small-scale theatrical experimentation. While these modernists often made hostile comments about drama, this volume highlights how the writers were all repeatedly drawn to the form. While Yeats and Pound were fascinated by the controlling aspect of theatre, other authors felt inspired by theatre as a democratic forum in which dissenting voices could be heard. Some of these modernists used theatre to express and explore identities that had previously been sidelined in the public forum, including the working-class mining communities of Lawrence’s plays, the sexually unconventional and non-binary gender expressions of Joyce’s fiction, and the female experience that Woolf sought to represent and discuss in terms of theatrical performance. These writers may be known primarily for creating non-dramatic texts, but this book demonstrates the importance of the theatre to the activities of these authors, and shows how a sense of the theatrical repeatedly motivated the wider thinking and writing of six major figures in literary history.

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Because the stories in James Joyce's Dubliners seem to function as models of fiction, they are able to stand in for fiction in general in their ability to make the operation of texts explicit and visible. Joyce's stories do this by provoking skepticism in the face of their storytelling. Their narrative unreliabilities—produced by strange gaps, omitted scenes, and misleading narrative prompts—arouse suspicion and oblige the reader to distrust how and why the story is told. As a result, one is prompted to look into what is concealed, omitted, or left unspoken, a quest that often produces interpretations in conflict with what the narrative surface suggests about characters and events. Margot Norris's strategy in her analysis of the stories in Dubliners is to refuse to take the narrative voice for granted and to assume that every authorial decision to include or exclude, or to represent in a particular way, may be read as motivated. Suspicious Readings of Joyce's Dubliners examines the text for counterindictions and draws on the social context of the writing in order to offer readings from diverse theoretical perspectives. Suspicious Readings of Joyce's Dubliners devotes a chapter to each of the fifteen stories in Dubliners and shows how each confronts the reader with an interpretive challenge and an intellectual adventure. Its readings of "An Encounter," "Two Gallants," "A Painful Case," "A Mother," "The Boarding House," and "Grace" reconceive the stories in wholly novel ways—ways that reveal Joyce's writing to be even more brilliant, more exciting, and more seriously attuned to moral and political issues than we had thought.

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