"Teaches more than how to read a particular novel; it teaches us more profoundly how to read anything. This, I think, is the book's main virtue. It teaches us readers to transform the brute fact of our world."--Hugh Kenner
Fünfzehn Kurzgeschichten Die fünfzehn in diesem Band versammelten Kurzgeschichten sind das erste Prosawerk des weltberühmten Schriftstellers. Mit seinen realistisch-psychologischen Miniaturen wirft er einen kritischen, gleichwohl nie denunziatorischen Blick auf seine Heimatstadt Dublin. Die kleinen Meisterwerke bilden einen Episodenzyklus, der von der Beengtheit des Lebens und der Sehnsucht nach der großen weiten Welt zu Beginn des 20. Jahrhunderts erzählt.
Notes for Dubliners and A Portrait of the Artist as a Young Man
Author: Don Gifford
Publisher: Univ of California Press
Category: Literary Criticism
This substantially revised and expanded edition of Don Gifford's Notes to Joyce: Dubliners and A Portrait of the Artist as a Young Man puts the requisite knowledge at the disposal of scholars, students, and general readers. Professor Gifford's labors in gathering these data into a single volume have resulted in an invaluable sourcebook.
From Ulysses to Finnegans Wake, James Joyce’s writings rank among the most intimidating works of literature. Unfortunately, many of the books that purport to explain Joyce are equally difficult. The Critical Lives series comes to the rescue with this concise yet deep examination of Joyce’s life and literary accomplishments, an examination that centers on Joyce’s mythical and actual Ireland as the true nucleus of his work. Andrew Gibson argues here that the most important elements in Joyce’s novels are historically material and specific to Ireland—not, as is assumed, broadly modernist. Taking Joyce “local,” Gibson highlights the historical and political traditions within Joyce’s family and upbringing and then makes the case that Ireland must play a primary role in the study of Joyce. The fall of Charles Stewart Parnell, the collapse of political hope after the Irish nationalist upheavals, the early twentieth-century shift by Irish public activists from political to cultural concerns—all are crucial to Joyce’s literary evolution. Even the author’s move to mainland Europe, asserts Gibson, was actually the continuation of a centuries-old Irish legacy of emigration rather than an abandonment of his native land. In the thousands, perhaps millions, of words written about Joyce, Ireland often takes a back seat to his formal experimentalism and the modernist project as a whole. Yet here Gibson challenges this conventional portrait of Joyce, demonstrating that the tightest focus—Joyce as an Irishman—yields the clearest picture.
Bracken identifies and describes a substantial portion of the currently available reference sources in British and American literature with more than 1,500 resources on individual writers. Descriptive annotations offer thorough and detailed assessments of the works.
Robert Musil (1880-1942), der Rationales und Irrationales nicht als unversöhnliche Gegensätze begriff, sondern beide Dimensionen aus wissenschaftlicher Sicht dichterisch miteinander verknüpfte, schildert in seinem ersten Roman Die Verwirrungen des Zöglings Törless (1906) geistige und körperliche Grenzüberschreitungen, die den Protagonisten dazu führen, ‘Dinge, Vorgänge und Menschen als etwas Doppelsinniges zu empfinden‘. Das so entstandene Spannungsfeld fördert in Törless eine kreative Betrachtungsweise, die sich von der anerzogenen Moral distanziert, dafür aber eine Selbstfindung ermöglicht, die unbewusste Zonen integriert und ihnen deshalb nicht zu verfallen braucht. In der Konzentration auf die Innerlichkeit eines Jugendlichen mit Törless vergleichbar, lässt der Entwicklungsroman A Portrait of the Artist as a Young Man (1916) den stolzen Stephen Dedalus einen Weg beschreiten, der sein Selbstbewusstsein stärkt und ihm neue Perspektiven eröffnet. Anders als Robert Musil spiegelt James Joyce (1882-1941) in seinem irischen Helden jedoch eine traditionelle Dichotomie katholischer Prägung, die seiner Dichtung ebenso eigen ist wie ihre stilistischen Erneuerungen. Diesen gegenläufigen Tendenzen bei Musil und Joyce hat die Autorin im Frühwerk der beiden Schriftsteller nachgespürt, um ihren Umgang mit dem Leib-Seele-Problem sichtbar zu machen.
This book makes an important intervention in the ongoing debates about modernism, science, and the divisions of early Twentieth-Century print culture. In order to establish Joyce's place in the nexus of modernism and scientific thought, Drouin uses the methods of periodical studies and textual criticism to examine the impact of Einstein's relativity theories on the development of Ulysses (1922) and Finnegans Wake (1939). Looking at experiments with space, time, motion, and perspective, it rigorously surveys discourse of science and the novel in the print culture networks connected to Joyce, with concrete analysis of avant-garde magazines, newspapers, popular science books, BBC pamphlets, and radio broadcasts between 1914 and 1939. These sources elucidate changes that Joyce made to the manuscripts, typescripts, and page proofs of certain episodes of his final two novels. The new evidence establishes for the first time the nature of the material link between Joyce and non-technical science, and the manner in which Ulysses and Finnegans Wake owe their structure and meaning to the humanistic issues associated with science during the wartime and inter-war years. In examining the relationships between Joyce's later work and the popular science industry, the book elucidates the often conflicting attitudes toward science in inter-war British print culture, filling in a piece of the puzzle that is modernism's relationship to the new physics and, simultaneously, the history of the novel.
Aldous Huxley decried "the horrors of modern 'pleasure,'" or the proliferation of mass produced, widely accessible entertainment that could degrade or dull the mind. He and his contemporaries, including James Joyce, T. S. Eliot, Gertrude Stein, D. H. Lawrence, and Jean Rhys, sought to radically redefine pleasure, constructing arduous and indirect paths to delight through their notoriously daunting work. Laura Frost follows these experiments in the art of unpleasure, connecting modernism's signature characteristics, such as irony, allusiveness, and obscurity, to an ambitious attempt to reconfigure bliss. In The Problem with Pleasure, Frost draws upon a wide variety of materials, linking interwar amusements, such as the talkies, romance novels, the Parisian fragrance Chanel no. 5, and the exotic confection Turkish Delight, to the artistic play of Joyce, Lawrence, Stein, Rhys, and others. She considers pop cultural phenomena and the rise of celebrities such as Rudolph Valentino and Gypsy Rose Lee against contemporary sociological, scientific, and philosophical writings on leisure and desire. Throughout her study, Frost incorporates recent scholarship on material and visual culture and vernacular modernism, recasting the period's high/low, elite/popular divides and formal strategies as efforts to regulate sensual and cerebral experience. Capturing the challenging tensions between these artists' commitment to innovation and the stimulating amusements they denounced yet deployed in their writing, Frost calls attention to the central role of pleasure in shaping interwar culture.
This book investigates male writers' use of female voices and female writers' use of male voices in literature and theatre from the 1850s to the present, examining where, how and why such gendered crossings occur and what connections may be found between these crossings and specific psychological, social, historical and political contexts.
In this broad-ranging and ambitious intervention in the debates over the politics, ethics, and aesthetics of cosmopolitanism, Rebecca L. Walkowitz argues that modernist literary style has been crucial to new ways of thinking and acting beyond the nation. While she focuses on modernist narrative, Walkowitz suggests that style conceived expansively as attitude, stance, posture, and consciousness helps to explain many other, nonliterary formations of cosmopolitanism in history, anthropology, sociology, transcultural studies, and media studies. Walkowitz shows that James Joyce, Joseph Conrad, Virginia Woolf, Salman Rushdie, Kazuo Ishiguro, and W. G. Sebald use the salient features of literary modernism in their novels to explore different versions of transnational thought, question moral and political norms, and renovate the meanings of national culture and international attachment. By deploying literary tactics of naturalness, triviality, evasion, mix-up, treason, and vertigo, these six authors promote ideas of democratic individualism on the one hand and collective projects of antifascism or anti-imperialism on the other. Joyce, Conrad, and Woolf made their most significant contribution to this "critical cosmopolitanism" in their reflection on the relationships between narrative and political ideas of progress, aesthetic and social demands for literalism, and sexual and conceptual decorousness. Specifically, Walkowitz considers Joyce's critique of British imperialism and Irish nativism; Conrad's understanding of the classification of foreigners; and Woolf's exploration of how colonizing policies rely on ideas of honor and masculinity. Rushdie, Ishiguro, and Sebald have revived efforts to question the definitions and uses of naturalness, argument, utility, attentiveness, reasonableness, and explicitness, but their novels also address a range of "new ethnicities" in late-twentieth-century Britain and the different internationalisms of contemporary life. They use modernist strategies to articulate dynamic conceptions of local and global affiliation, with Rushdie in particular adding playfulness and confusion to the politics of antiracism. In this unique and engaging study, Walkowitz shows how Joyce, Conrad, and Woolf developed a repertoire of narrative strategies at the beginning of the twentieth century that were transformed by Rushdie, Ishiguro, and Sebald at the end. Her book brings to the forefront the artful idiosyncrasies and political ambiguities of twentieth-century modernist fiction.
Don Gifford in Zones of Re-membering shows clearly, thoughtfully, yet entertainingly how no one explanation will account for the depth and complexity of human experience and its grounding in Memory. Because consciousness is a function of Memory, “life without Memory is no life at all” as Alzheimer’s all too frequently demonstrates. Both our individual and collective Memory is stored in the arts, he contends, which in turn provide a way of knowing and of nourishing Memory and consciousness. Memory, like language, is never really stable or accurate but appears as narrative and these narratives collectively form our entire culture. For Gifford, the profoundest explorer of the human consciousness, time, and memory is James Joyce and in its range of reference, wit, and humanity the spirit of Joyce permeates this book.
Demented Particulars offers a detailed annotation of Samuel Beckett's first published novel, Murphy. This page by page account of the often unexpected details (literary, philosophical, theological, biographical and other) that went into the making of this