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Deming, Rovert H. James Joyce: The Critical Heritage, vol. 1, Routledge & Kegan Paul, 1970. 


Deming, Rovert H. James Joyce: The Critical Heritage, vol. 2, Routledge & Kegan Paul, 1970. 


Staley, Thomas F. and Benstock, Bernard, Ed. Approaches to Ulysses. London: University of Pittsburgh Press, 1970.


Brandabur, Edward. A Scrupulous Meanness: A Study of Joyce’s Early Work. Urbana: U of Illinois P, 1971.


Joyce, Stanislaus. The Complete Dublin Diary of Stanislaus Joyce, edited by George H. Healey, Cornell UP, 1971. 


Budgen, Frank. James Joyce and the Making of 'Ulysses' and Other Writings. Oxford UP, 1972. 


Cixous, Hélène. The Exile of James Joyce. Trans. by Sally A. J. Purcell. London: John Calder, 1976. Trans of L'exil de James Joyce, ou, L'art du Remplacement. Paris: Bernard Grasset, 1972.  


Ellmann, Richard. Ulysses on the Liffey. New York: Oxford University Press, 1972.


Epifanio San Juan. Jr.  James Joyce and the Craft of Fiction: An Interpretation of Dubliners. Associated UP, 1972


Beja, Morris, ed. James Joyce: Dubliners and A Portrait of the Artist as a Young Man; a casebook. London: Macmillan, 1973.


Bowen, Zack. Musical Allusions in the Works of James Joyce: Early Poetry though Ulysses. Albany: State U of New York P, 1974.


Hart, Clive and Hayman, David, Ed. James Joyce's “Ulysses”: Critical Essays. Berkeley: University of California Press, 1974.


Norris, Margot. The Decentered Universe of Finnegans Wake: A Structuralist Analysis. Baltimore and London: The John Hopkins University Press, 1974.


Shechner, Mark. Joyce in Nighttown: A Psychoanalytic Inquiry into Ulysses. Berkeley: U of California P, 1974.


French, Marilyn. The Book as a World: James Joyce's Ulysses. Cambridge, Mass: Harvard UP, 1976.


Seidel, Michael. Epic Geography: James Joyce's Ulysses. New Jersey: Princeton University Press, 1976.


Adams, Robert Martin. After Joyce: Studies in Fiction After Ulysses. Oxford UP, 1977.


Raleigh, John Henry. The Chronicle of Leopold Bloom and Molly: Ulysses as Narrative. Berkeley: U of California Press, 1977.


Benstock, Bernard. James Joyce: The Undiscover’d Country. Dublin: Gill and Macmillan, 1977. 


Ellmann, Richard. The Consciousness of Joyce. London: Faber & Faber, 1977.


Groden, Michael. Ulysses in Progress. New Jersey: Princeton University Press, 1977.


Perkins, Jill, ed. Joyce and Hauptmann: Before Sunrise: James Joyce’s Translation. Los Angeles: Huntington Library, 1978. 


MacCabe, Colin. James Joyce and the Revolution of the Word. Macmillan, 1979.


Potts, Willard, ed. Portraits of the Artist in Exile: Recollections of James Joyce by Europeans. Seattle: U of Washington P, 1979.






















Thomas F. Staley and Bernard Benstock, Ed. / Approaches to Ulysses (1970)


Staley, Thomas F. and Benstock, Bernard, Ed. Approaches to Ulysses. London: U of Pittsburgh P, 1970. 




 1  Stephen Dedalus and the Temper of the Modern Hero
 2  The Priesthoods of Stephen and Buck
 3  Motif as Meaning: The Case of Leopold Bloom
 4  The Empirical Molly
 5  Some Determinants of Molly Bloom
 6  The Fictional Technique of Ulysses
 7  Ulysses by Way of Culture and Anarchy
 8  Ulysses: The Making of an Irish Myth
 9  The Allusive Method in Ulysses
10  Ulysses in Translation
     Biographical Notes




Broad-ranging and fresh in approach, these essays—all written expressly for this volume—represent the best of current Joycean criticism. Five of the essays examine the characters of the novel, four deal with the literary style of presentation, and the last deals with problems of translation.


    Thomas F. Staley is professor of English and dean of the graduate school at the University of Tulsa. He is the editor of the James Joyce Quarterly and co-editor of The Shapeless God: Essays on Modern Fiction. He is the author of James Joyce Today and the editor of Essays on Italo Svevo. Bernard Benstock is professor of English and graduate chairman at Kent State University. He is the author of Joyce-again’s Wake: An Analysis of Finnegans Wake and Sean O’Casey.


Edward Brandabur / A Scrupulous Meanness: A Study of Joyce’s Early Work (1971)


Brandabur, Edward. A Scrupulous Meanness: A Study of Joyce’s Early Work. Urbana: U of Illinois P, 1971. 





CHAPTER I     The Green Stem of Fortune: Paralysis as Prospect

CHAPTER II    The Broken Harmonium: Paralysis as Celibacy

CHAPTER III   The Gratefully Oppressed: Paralysis as Humiliation

CHAPTER IV   “Ivy Day in the Committee Room” and

                     “The Dead”: Paralysis as Pretense

CHAPTER V    Exiles: A Rough and Tumble Between de Sade and Sacher-Masoch

CONCLUSION  A Portrait of the Artist as a Young Man and Ulysses




Richard Ellmann / Ulysses on the Liffey (1972)


Ellmann, Richard. Ulysses on the Liffey. New York: Oxford UP, 1972. 





I   Homer Contemplates Aristotle

      The Morning After (1)*

      Magpie and Cuckoo (2)

      Why Stephen Dedalus Picks His Nose (3)

II  Browne and Nolan

      Middle Earth (4)

      That Other World (5)

      The Circle Joined (6)

III  Harsh Geometry

      Three Propositions

IV  The Beast with Two Backs

      Blowing Up Nelson's Pillar (7)

      A Cheese Sandwich (8)

      The Riddle of Scylla and Charybdis (9)

V   The Void Opens

      Between Two Roaring Worlds (10)

      Worlds Become Notes Become Words (11)

      Bloom Unbound (12)

VI  The Battle for Dublin

      Three Propositions

VII Towards Lay Sanctity

      Heroic Naughtiness (13)

      Vagitus: The Word is Born (14)

      The Orc (15)

VIII The New Bloomusalem

      A Fiction Not Supreme (16)

      La Scienza Nuova e Vecchia (17)

      Why Molly Bloom Menstruates (18)

IX  Anatomy of Return

      Three Propositions

Appendix  The Linati and Gorman-Gilbert

      Schemas Compared




Epifanio San Juan. Jr / James Joyce and the Craft of Fiction: An Interpretation of Dubliners (1972)


Juan, Epifanio San, Jr. James Joyce and the Craft of Fiction: An Interpretation of Dubliners. Associated UP, 1972.


Part I The Interpretations of Signs
 1 The Sisters
 2 An Encounter
 3 Araby
Part II A Special Odor
 4 Eveline
 5 After the Race
 6 The Boading House
Part III A Gentle Way of Putting It
 8 A Little Cloud
 9 Counterparts
10 Clay
11 A Painful Case
Part IV Scrupulous Meanness
 12 Ivy Day in the Committee Room
 13 A Mother
 14 Grace
Part V Catharsis
 15 The Dead
Bibliographical Note and Selected Bibliography



Approaching the fifteen stories in Dubliners as artifices of the creative imagination, Professor San Juan seeks to formulate the organizing principle that gives to the material of each story its specific power to affect our opinions and emotions in a definitive way. He then analyzes and criticizes each as an artistic whole, showing its mimetic form to be constituted primarily of some particular human activity or experience―the “action” so rendered by the artist in patterned incidents or episodes as to arouse and satisfy a sequence of emotional and moral responses in the reader.

In terms of the probability if the sequence of incidents and the origin of the possibility, the plots of these short stories can be classified into three kinds: the plot of character, in which the likelihood of the sequence of incidents arises from the ethos of the protagonist, as in “Two Gallants,” “The Boarding House,” “Ivy Day in the Committee Room,” “A Mother,” and “Grace”; the plot of pathos, in which the intentions of the characters do not interfere with the progression of incident and hence no reversal or recognition takes place, as in “Eveline,” “After the Race,” “A Little Cloud.” “Counterparts,” and the “Clay”; and the stories with a complex activity, possessing stages of reversal and recognition, such as “The Sisters,” “An Encounter,”  “Araby,” “A Painful Case,” and “The Dead.” This classification is useful to an interpretation of Joyce’s arts and its effects; it differs sharply from the approach  of most interpretations of Dubliners, which operate on the premise that Joyce intended each story to be an exemplum, or an anecdote serving as a paradigm of a thematic argument, or an allegory, or even, as with “Grace,” a parody of the Divine Comedy, equating pub with hell, home with purgatory, church with paradise.


The present study is the first systematic, formal interpretation of the stories in Dubliners as independent and integral wholes, each with its own synthesizing principle. A “literal” reading of each narrative is here provided, with close textual commentary revealing what Aristotle calls the dynamis, the moving power, behind these fictive structures.  


Morris Beja, ed. / James Joyce: Dubliners and A Portrait of the Artist as a Young Man; a casebook. (1973)


Beja, Morris, ed. James Joyce: Dubliners and A Portrait of the Artist as a Young Man; A Casebook. London: Macmillan, 1973.




General Editor’s Preface


Part One : Background and Early Responses


Letters from Joyce (1904-1906)


Selections from Joyce’s Manuscripts
  Ⅰ 'A Portrait of the Artist’ (1904),

  Ⅱ Stephen on Epiphany

  Ⅲ Twelve ‘Epiphanies’

  Ⅳ The Pola Notebook (1904)


The Early Response to Dubliners : Reviews
  Times Literary Supplement (1914),

  Gerald Gould (1914)


The Joyce Family
  Ⅰ Stanislaus Joyce’s Diary (1903 extracts)

  Ⅱ James Joyce, ‘There once was a lounger named Stephen’ (1917)

  Ⅲ John Stanislaus Joyce, Letter to his Son (1931)


The Early Response to A Portrait of the Artist: Comments and Reviews
  Edward Garnett (1916 ?),

  The Egoist (June 1917)

  Everyman (February 1917)

  Literary World (March 1917)

  Irish Book Lover (April-May 1917)  


Part Two : Critical Studies

HARRY LEVIN : The Artist (1941)
BREWSTER GHISELIN : The Unity of Dubliners (1956)
FRANK O’CONNOR : Joyce and Dissociated Metaphor (1956)
HUGH KENNER : The Portrait in Perspective (1955)
MAURICE BEEBE : Joyce and Aquinas : The Theory of Aesthetics (1957)
RICHARD ELLMANN : The Backgrounds of ‘The Dead’ (1959)
WAYNE C. BOOTH : The Problem of Distance in A Portrait of the Artist (1961)
J.I.M. STEWART : Dubliners (1963)
MORRIS BEJA : The Wooden Sword : Threatener and Threatened in the World of James Joyce (1964)
ANTHONY BURGESS : A Paralysed City (1965)
JOHN GROSS : The Voyage Out (1970)


Select Biography
Notes on Contributors


Zack Bowen Musical / Allusions in the Works of James Joyce (1974)


Bowen, Zack. Musical Allusions in the Works of James Joyce: Early Poetry though Ulysses. Albany: State U of New York P, 1974.





General Introduction

introduction to Poetry


Introduction to Exiles

Introduction to Dubliners


Introduction to Stephen Hero

Stephen Hero

Introduction to A Portrait of the Artist as a Young 

A Portrait of the Artist as a Young 

Introduction to Ulysses


Notes Bibliography

General Index

Song Index


Mark Shechner / Joyce in Nighttown: A Psychoanalytic Inquiry into Ulysses (1974)


Shechner, Mark. Joyce in Nighttown: A Psychoanalytic Inquiry into Ulysses. Berkeley: U of California P, 1974. 





Abbreviations and a Note on Editions Used




1. The Passion of Stephen Dedalus


2. Interlude: A Correspondence of Joyces

3. Whom the Lord Loveth: Five Essays

4. Nausikaa: The Anatomy of a Virgin


5. Das Fleish das Stets Bejaht

6. The Song of the Wandering Aengus: James Joyce and His Mother


Selected Biography






“I can psoakoonaloose myself anytime I want.” – JAMES JOYCE


In this book Mark Shechner takes a fresh look at James Joyce’s Ulysses through spectacles borrowed from Freudian psychoanalysis. Psychoanalysis makes us see this great novel, not as Art created by Joyce through some inexplicable gift, but as gesture, as purposeful human action, with all that that implies about human drives, human conflicts and human feelings. Ulysses makes different sense as gesture than it does as Art for once we remove the aesthetic frame from the work we ask different questions of it. For the study of gesture leads us to the study of motives and the objects of those motives. We ask why and for whom? Ulysses, it turns out, makes abundant sense as the product of seven years of significant self-regarding activity. It is a fine example of artistic narcissism; a self-reflecting showpiece of poses and confessions.

  In Ulysses we encounter Joyce encountering himself and arranging a pose for each encounter. The book is also a document of self-analysis and self-revelation in which we discover Joyce confessing himself to himself while allowing his readers the privilege of eavesdropping slyly on the confessional transaction. In Ulysses we find Joyce laying bare the deepest recesses of his own psychic life under conditions which assure that the revelation shall not be wholly understood. Like all confessions, Ulysses is a book that reveals truth through those forms of denial we call the techniques of fiction.

  Of the tools of explanation we have available to us, only psychoanalysis is prepared to interpret that kind of gesture, that is, to analyze it into propositions about motives and conflicts. Mr. Shechner attempts to make visible some details of Joyce’s psychic life through an analysis of Ulysses and in turn to propose meanings for Ulysses that make sense as functions of Joyce’s mind. The process in not circular but dialectical and so is the result – we cannot tell the artist from the art.  

  Elements of the novel that critics have traditionally regarded as merely literary “themes” now fall into place as Joyce’s ways of living with himself and managing his own conflicts. Leopold Bloom’s Jewishness shows us Joyce trying to make both sense and virtue of his own alienation and paranoia by recasting them as myth. The identification of Bloom with Odysseus shows us Joyce coming to terms with aloneness by accommodating it to a heroic myth of separation and reunion. The interior monologue as a “technique of fiction” allows us a glimpse of Joyce the man dangerously close to radical disengagement from reality. And Finnegans Wake may well be his flirtation with autism. Through psychoanalysis, Joyce’s creativity itself begins to make sense as a strategy for psychic survival, as something he had to cultivate in order to ward off psychic breakdown.


丸谷才一編『現代作家論 ジェイムズ・ジョイス』(1974)


丸谷才一編『現代作家論 ジェイムズ・ジョイス』早川書房、1974年




ジョイス死後三十年 ―序にかえて― 丸谷才一


I 同時代の批評

ジェイムズ・ジョイス ヴァレリー・ラルボー

ジョイスの位置 シリル・コノリ

ダンテ/ヴィーコ―/ジョイス サミュエル・ベケット



ジェイムズ・ジョイスと現代 ヘルマン・ブロッホ

大げさな言葉には小さな療治 アンドレ・ジード

H・C・イアリッカーの夢 エドマンド・ウィルソン


II 現代の批評

『ユリシーズ』の研究 フィリップ・トインビー

謎とエピファニー フランク・カーモード

フィネガンのための敷居の粗描 ミシェル・ビュートル

ジョイス・マラルメ・新聞 H・マーシャル・マクルーハン

開かれた詩学 ウンベルト・エーコ

終わりにことばあり アントニイ・バージェス

ジェイムズ・ジョイスと多言語文体の伝統 ヴィヴィアン・マーシア


III 追悼

魚たちへのメッセージ T・S・エリオット

ジェイムズ・ジョイスの思い出に パードリック・コラム

筆者紹介 出淵博

ジェイムズ・ジョイス年譜 大沢正佳編

ジェイムズ・ジョイス書誌 大沢正佳編




Ed. by Clive Hart and Dayvid Hayman / James Joyce's “Ulysses”: Critical Essays (1974)


Hart, Clive and Hayman, David, Ed. James Joyce's “Ulysses”: Critical Essays. Berkeley: U of California P, 1974. 




Abbreviations and Conventions
TELEMACHUS  Bernard Benstock
NESTOR  E.L. Epetein
PROTEUS  J. Mitchell Morse
CALYPSO  Adaline Glasheen
LOTUSEATERS  Phillip F. Herring
HADES  R. M. Adams
AEOLUS  M. J. C. Hodgart
LESTRYGONIANS  Melvin J. Friedman
SIRENS  Jackson I. Cope
CYCLOPS  David Hayman
NAUSICAA  Fritz Senn
CIRCE  Hugh Kenner
EUMAEUS  Gerald L. Bruns
ITHACA  A. Walton ƒju
PENELOPE  Fr. Robert Boyle, S.J.



THIS BOOK contains eighteen original essays by leading Joyce scholars on the eighteen separate chapters of Ulysses. It attempts to explore the richness of Joyce’s extraordinary novel more fully than could be done by any single scholar. Joyce’s habit of using, when writing each chapter in Ulysses, a particular style, tone, point of view, and narrative structure gives each contributor a special set of problems with which to engage, problems which coincide in every case with certain of his special interests. The essays in this volume complement and illuminate one another to provide the most comprehensive account yet published of Joyce’s many-sided masterpiece.


“A landmark in interpretation. . . . Never have Joyce’s polytropic techniques been explicated with such thoroughness, sensibility, and sympathy. The result is the achievement of new perspectives. . . . These writers have achieved the seemingly impossible feat of reading Ulysses afresh.” – James Joyce Quarterly


“Some of the best scholars in the field take a fresh look at Joyce’s novel. . . . The collection offers much to evoke the interest of even the most jaded Joyce devotee. It should not be overlooked by any serious scholar of Ulysses.”  –Virginia Quarterly Review

“The essays are remarkably uniform in quality, and consistently reflect a determined effort to move beyond mere explication and develop general notions about the art and meaning of Ulysses through close examination of specific passages within individual chapters. A well planned, effectively executed ‘appreciation’ in the best sense of the term, this important volume should prove a very valuable addition to any collection serving serious readers of Joyce.” –Library Journal






Margot Norris / The Decentered Universe of Finnegans Wake: A Structuralist Analysis (1974)


Norris, Margot. The Decentered Universe of Finnegans Wake: A Structuralist Analysis. Baltimore and London: The John Hopkins UP, 1974. 







     Structure and Language     

     Dream Theory


     The Novelistic Fallacy

     The Integration of Elements


     The Function of Repetition

     Form and the Oedipus Myth

     Myth Structure in the Dream

     The Myths of Trespass

Chapter Three: THE THEMES

     Family and Society

     The Primal Scene

     Triangular Desire

     In the Name of the Father

     Redemption: The Failure of the Sun

     Redemption: Maternal Salvage



     Idle Talk




     The Dream Process





Chapter Six: TECHNIQUE


     Imitative Form







The pioneer critics of Finnegans Wake hailed the work as a radical critique of language and civilization. Resuming their position, Margot Norris explains the Wake’s most intractable uncertainties not as puzzles to be solved by a clever reader, but as manifestation of a “chaosmos,” a Freudian dream world of sexual transgression and social dissolution, of inauthentic being and empty words.


Conventional moralities and restraints are under siege in this chaosmos, where precisely those desires and forbidden wishes that are barred in waking thought strive to make themselves felt. Norris demonstrates convincingly that the Wake’s Protean characters are the creatures of a dreaming mind. The teleology of their universe is freedom, and in the enduring struggle between the individual’s anarchic psyche and the laws that make civilization possible, it is only in dream that the psyche is triumphant. It is as dream rather than as novel that Norris reads Finnegans Wake.

The lexical deviance and semantic density of the Wake, Norris argues, are not due to Joyce’s malice, mischief, or megalomania but are essential and intrinsic to his concern to portray man’s inner state of being. Because meanings are dislocated – hidden in unexpected places, multiplied and split, given over to ambiguity, plurality, and uncertainty – the Wake, Norris claims, represents a decentered universe. Its formal elements of plot, character, discourse, and language are not anchored to any single point of reference, do not refer back to frames of reference can readers allow the work to disclose its own meanings, which are lodged in the differences and similarities of its multitudinous elements.


The literary heterodoxy of the Wake, the author establishes, is the result of Joyce’s attack on the traditional concept of structure itself. The powerful intellectual currents that swept early-twentieth-century Europe laid waste forever Cartesian certainty. The assertion of cogito ergo sum was weakened by evidence of the ex-centricity of the ego: the manifestations of the unconscious and the gap that bars the individual from true self-knowledge. In Finnegans Wake Joyce presents this new status of man by transferring the arena of self-knowledge from the epiphany to a dream world where the self knows itself not through brilliant flashes of light and insight, but thorough anxiously constructed labyrinthian puzzles that yield only to labored interpretation. In this new universe, epistemology stands at the nexus of art and philosophy. The spectacular stylistic innovations of the Wake reflect not only a holistic view of man’s everyday activities and thoughts, but a growing awareness of the complexity, as well as the limitations, imposed on human knowledge by our intellectual history, language, and our own unconscious.

Eschewing the close explication of much Wake criticism, the author provides a conceptual framework for the work’s large structures with the help of theories and methods borrowed from Freud, Heidegger, Lacan, Lévi-Strauss, and Derrida.                    


Looking at the work without novelistic expectations or the illusion of some “key” to unlock the mystery, Norris explores Joyce’s rationale for committing his last human panorama – a bit sadder than Ulysses in its concern with aging, killing, and dying – to a form and language belonging to the deconstructive discourses of the twentieth century.

Margot Norris is on the faculty of the Department of English language and literature at the University of Michigan.   


Hélène Cixous / The Exile of James Joyce (1976)


Cixous, Hélène. The Exile of James Joyce. Trans. by Sally A. J. Purcell. London: John Calder, 1976. Trans of L'exil de James Joyce, ou, L'art du Remplacement. Paris: Bernard Grasset, 1972. 






Part One: The Family Cell

I. The Family and its Portrayal

II. John Joyce. The Father's Side

III. The Fear of Marriage and the Dream of Freedom

V. Variations on the Theme of Transubstantiation

VI. The Artist as Cannibal


Part Two: Private and Public Heroism

VII. Opposing Ideologies

VIII. Politics as Temptation

IX. The 1904 Portrait

X. Stephen Hero

XI. Heroism is Ridiculous

XII. The Abolition of Words


Part Three: The Choise of Herecy

XIII. Non Serviam

XIV. From Hell to Hell

XV. The Discovery of Language


PART Four: Exile as Recovery

XVI The Choise of Exile 

XVII. Exile of the Soul

XVIII. The Notion of Exile Within

XIX. Exiles, or the Discovery of Creative Doubt

XX. The Artist and his Double


Part Five: Joyce's Poetics

XXI. Approaching Reality

XXII. Going Beyond Reality

XXIII. The Language of Reality







Michael Seidel / Epic Geography: James Joyce's Ulysses (1976)


Seidel, Michael. Epic Geography: James Joyce's Ulysses. New Jersey: Princeton UP, 1976.




 Migrations, Orientations, Directions
 Macroanthropos, Heaventree, Circle Squared
 Geography and National Temperament
 Homer, Joyce, Defoe
 Masterplots and Masterbilkers

PRELIMINARY MAPPINGS: Orientations, Wanderings, Nostos

 Scylla and Charybdis
 Wandering Rocks
 Oxen of the Sun




In proposing that places, movements, and directions are deeply implicated in the narrative structure of Ulysses, Michael Seidel contends that Joyce recreates in Dublin the significant epic geography of the Odyssey. The author demonstrates how Joyce adjusts the spaces of Ulysses to accommodate the three theaters of Homeric action as mapped by Victor Bérard’s Les Phéniciens et l’Odyssée.
  Although Joyce is known to have valued Victor Bérard’s theory of the Semitic Odyssey, the importance of Bérard’s conclusions for Joyce’s understanding of epic orientation, direction, and domain has not previously been recognized. Michael Seidel argues that Joyce’s translation of Homeric spaces not only reopens the question of Homeric parallels in Ulysses, but raises general questions about mythic and localized movement in narrative.
  Joyce’s sense of double plotting in Ulysses (epic and idiosyncratic) establishes a narrative axis that measures the extent of epic domain in the novel against the more limited range of fictional action in Dublin. The placement, movement, and direction of Joyce’s characters assist in telling the greater and lesser stories of the day. Michael Seidel’s discussion of the geographical logic of Ulysses allows for the novel’s climatically or regionally determined frustrations, for its labyrinthine urban disorientations, for its geodetic parodies, and even for its comic variants of Greek and Celtic migration myths, migrations to the west or northwest.
  "This book deserves careful attention as a wholly new departure. Commentators have used Dublin maps before, but never have they compared them with the Odysseus map derived from Bérard. That the dangerous direction is north-west in both works is an observation that proves to unlock a wholly new sequence of insights." ---Hugh Kenner, The Johns Hopkins University


Michael Seidel is Associate Professor of English at Yale University. 


Bernard Benstock / James Joyce: The Undiscover’d Country (1977)


Benstock, Bernard. James Joyce: The Undiscover’d Country. Dublin: Gill and Macmillan, 1977.






    The Creed of the Farsoonerite

1  Within the Pale

2  The Old Sow and the Brutish Empire

3  An Afterthought of Europe 

4  Et Ignotas Animum Dimittit in Artes

5  Retreat from Onan






James Joyce’s self-imposed exile from Ireland had a profound influence on his work. In James Joyce: The Undiscover’d Country Bernard Benstock traces the effect of exile on Joyce’s writings and on his development of a literary style. Experimentation in technique and concern with form, structure and texture were to bring him continuing acclaim as a major artist.

Joyce’s consciousness of his Irish origins was balanced, although not outweighed, by his sense of belonging to a wider continental literary tradition. Among his European contemporaries, Joyce espoused Ibsen; and he sought for his cultural roots in the medieval past, especially in Dante. Joyce’s debt to English literature, and particularly to Shakespeare, is also treated as a formative influence.


For Joyce being a writer meant a total commitment to a world literary tradition. It involved him in the lonesome pursuit of an artistic ideal which removed him from Ireland and placed him above the struggles of his native land. This tension, basic to Joyce’s writings, is subject to scrutiny by Bernard Benstock through a close study of the characters and language of Joyce’s major works, Dubliners, A Portrait of the Artist as a Young Man, Ulysses and Finnegans Wake.


In conclusion James Joyce: The Undiscover’d Country shows how Joyce’s theory of art and his refusal to be confined by a strictly Anglo-Irish literary tradition helped shape his purpose and greatness as a writer.


Bernard Benstock is Professor of English and Comparative Literature at the University of Illinois. He is also President of the International James Joyce Foundation and co-organiser of the International James Joyce Symposium (Dublin 1977). He is advisory editor of the ‘James Joyce Quarterly’ and his previous books include Joyce – again’s Wake; as analysis of Finnegans Wake (Washington 1965) and Paycocks and Others: Sean O’Casey’s World (Dublin and New York, 1976).      


John Henry Raleigh / The Chronicle of Leopold Bloom and Molly: Ulysses as Narrative (1977)


Raleigh, John Henry. The Chronicle of Leopold Bloom and Molly: Ulysses as Narrative. Berkeley: U of California P, 1977.  







Matters Genealogical 

A Note on the Typographical Format

The Chronicle of Leopold and Molly Bloom

Appendix A: Bloom's Addresses

Appendix B: Bloom's Jobs



Maps and Diagrams


Joyce's Map of Dublin

Schematic Map of Dublin

7 Eccles Street and Vicinity 

Bloom's Neighborhoods

Raheboth Terrace

Plan of 7 Eccles Street

Half-Floor Level of 7 Eccles Street




This book is a reordering in a narrative line of the respective and mutual past lives of Leopold and Molly Bloom from their births down to June 16, 1904, the day on which Ulysses takes place. his is all given in their own words from memories that Joyce created for them and distributed in random fashion throughout Ulysses.

 The books seven purposes or intentions. First it is meant to serve as an introduction to Ulysses for the uninitiated, who are, understandably, intimidated by the bulk and complexity of Ulysses itself. Second, it clears up some facts about the lives of the Blooms. Third, it reconstructs certain events in their lives that are virtually impossible to perceive without those lives being laid out in a chronological line. Fourth, it uncovers some of the jokes (on the reader) that Joyce buries in the text. Fifth, it high-lights, as no other method could, the immense and detailed naturalistic base upon which Ulysses is constructed. For the half-century that Ulysses has been read and studied it has been its Blakean or symbolic side that has been emphasized. This chronicle underscores its Defoesque or realistic side. Sixth, the chronicle demonstrated that Joyce had woken a Proustian curve, a constant metamorphosis, into the character of Bloom, who was a very different person at different times in his past life. Seventh, the chronicle puts Molly Bloom in new perspective by taking her from the last section of the book and distributing her, so to speak, throughout the whole chronology. Further, since her thoughts about the past are much fuller, besides being in longer segments, than those of her husband, she looms much larger in the chronicle than she does in Ulysses itself. In other words, the chronicle puts both Leopold and Molly Bloom in a new light. 


John Henry Raleigh is Professor of English at Berkeley.


Richard Ellmann / The Consciousness of Joyce (1977)


Ellmann, Richard. The Consciousness of Joyce. London: Faber & Faber, 1977.




Chapter I  Homer
1 What’s in a Name?
2 From Daedalus to Dedalus
3 Ogygia
4 Ulysses’ Last Voyage
5 Ulysses Redivivus

Chapter II  Shakespeare
1 Unnatural Murder
2 Two Ghosts in Hamlet
3 Some Versions of Hamlet
4 Spacetime
5 Cerebral Mating

Chapter III  Joyce
1 Aesthetics without Aesthetes
2 Guerrilla Warfare
3 Political Antecedents
4 Beyond Parnell
5 The Politics of Aesthetics
Appendix  Joyce’s Library in 1920




By consciousness is meant the movement of the mind both in recognizing its own shape and in maintaining that shape in the face of attack or change. Richard Ellmann’s method of presenting it here is to measure Joyce’s response to Homer and Shakespeare, whose lofty presences permeate Ulysses. The discussion of Homer describes Joyce’s use not only of Homer itself, but of Homer as reconstructed by commentators and reflected by later writers such as Virgil and Dante.
  The discussion of Shakespeare shows how Joyce introduced into the Homeric narrative the quality of subjectivity which it did not possess. Professor Ellmann reveals that here, too, Joyce worked not only with Shakespeare, but with scholars and popularizers and writers of fiction. So Goethe’s Wilhelm Meister exists side by side with a modern book by May Byron, A Day with William Shakespeare, as aids to Joyce in his incorporation of Hamlet into his own book. 
  The final chapter deals with Joyce’s radical decisions about himself and his world. It argues for a much more political reading of Ulysses than has been proposed before, and it shows how Joyce cannily blended politics and aesthetics.
  In preparing this book Richard Ellmann has been aided by discovering that Joyce’s library of about 600 volumes, which he left behind him in Trieste in 1920, is still largely intact. An Appendix here gives the entire list, which provides an extraordinary insight into Joyce’s diverse and purposeful interests during the period when he was writing most of his own books.


From the author’s preface:
‘In an earlier book, Ulysses on the Liffey, I traced the intricacies of the intellectual patterning which pervades Ulysses. Here I try to measure Joyce’s response to his principal sources, to show how he reconciled the seemingly irreconcilable, how he unraveled and wove, and how he made his book express his aesthetics and his politics as well as his epic theme.’


Michael Groden / Ulysses in Progress (1977)

JJBN: Groden-1977 

Groden, Michael. Ulysses in Progress. New Jersey: Princeton UP, 1977. 









Ulysses: The Three Stages

The Early Stage: "Aeolus"

The Middle Stage: "Cyclops"

The Last Stage: 1920-1922

Appendix - The Early Texts of Ulysses







The publication of James Joyce's Ulysses crowned years of writing and constant rewriting at almost every stage, so that as many as ten versions exist for some pages. To understand how Joyce worked, Michael Groden traces the book's history in detail, synthesizing evidence from notebooks, drafts, manuscripts, typescripts, and proofs.

  The author presents a reading of Ulysses in terms of Joyce's processes of composition, contending that he wrote the book in three major stages rather than two, as many critics have assumed. He then studies three specific subjects closely. The first is the "Aeolus" episode, written early and heavily revised during the last phase. The second is "Cyclops," the first episode written during the middle stage, when Joyce abandoned his original technique of interior monologue. Finally, the author examines the entire complicated last period of creation and revision.

  "Professor Groden has solved one of the most important riddles of Ulysses - how such a book came to be written. In an extremely thorough, accurate, and lucid presentation, he gives us for the first time an authoritative history of the evolution of this century's most influential novel. His will be the standard work on this subject for many years to come." - Phillip F. Herring, University of Wisconsin, Madison


Michael Groden is Assistant Professor of English at the University of Western Ontario and General Editor of the James Joyce Archive.


Hugh Kenner / Joyce's Voices (1978)


Kenner, Hugh. Joyce's Voices. Barkeley: U of California P,1978. Rochester: Dalkey Archive P, 2007. 



1. Objectivity
2. The Uncle Charles Principle
3. Myth and Pyrrhonism
4. Beyond Objectivity
   Supplementary notes



"An original and entertaining study.  . . .  This is a most stimulating book."
-Anthony Burgess

  In Joyce's Voices, Hugh Kenner, one of the leading literary critics of modern letters, turns his keen insight toward James Joyce Ulysses. Written in answer to a letter that asked him to elaborate on his assertion that "Joyce began Ulysses in naturalism and ended it in parody," Kenner's book explores the way Joyce is able to play two roles in the novel—both that of Bloom and the narrator—by using a subtle technique that Kenner calls ""Uncle Charles Principle." The Uncle Charles Principle, which subverts the "traditional" novelistic technique of being "told only the things an observer would have experienced, and told them in the order in which he would have experienced them," allows Joyce to achieve a level of complexity and narrative depth that may be unequaled in the history of the novel.
  Joyce's Voices is an insightful, playful, and eminently readable guide to understanding one of the twentieth century's most brilliant writers.

Hugh Kenner(1923-2003) was one of the greatest literary critics of the twentieth century. He taught at several universities during his lifetime and was a frequent contributor to the National Review. His numerous critical books include The Pound Era, Gnomon, The Counterfeiters: An Historical Comedy, Samuel Beckett: A Critical Study, and Flaubert, Joyce and Beckett: The Stoic Comedians.




1975年にカンタベリー州のケント国立大学で行ったT. S. エリオットに関する四つの記念講演『客観主義描写以後』が元になっている。本書を有名にした「ガリバーの法則」と「チャールズ叔父さんの法則」は、今やジョイス作品の語りを考察する上では欠かすことのできない解釈道具となっている。


ハリー・レヴィン/飛田茂雄・永原和夫共訳 『ジェイムズ・ジョイス―その批評的解説』(1978年)



*原著:Levin, Harry. James Joyce: A Critical Introduction. Norfolk: New Directions Books,1941)




第一章 いまだ創造されざる良心

 一 現実

 二 都市

 三 芸術家

第二章 個性的な叙事詩

 一 ふたつの鍵

 二 モンタージュ

 三 静止

第三章 神話的な名匠

 一 歴史の悪夢

 二 追放された人々の言語

 三 豊かさ








Jill Perkins, ed. / Joyce and Hauptmann: Before Sunrise: James Joyce’s Translation (1978)


Perkins, Jill, ed. Joyce and Hauptmann: Before Sunrise: James Joyce’s Translation. Los Angeles: Huntington Library, 1978.





The Manuscript

Provenance of the Manuscript

Joyce and European Drama: 1900-1906

Critical Commentary

The Play: Text and Notes

Notes to the Text





“Of course the item you possess will undoubtedly, one day, see the light, for Joyce did very few translations and it reveals an interesting facet of his mind that he should have done this one at such an early age.” So wrote James Joyce’s literary representative shortly after Joyce’s death in 1941. The item in question was a small black notebook containing, in Joyce’s careful script, his translation of Gerhart Hauptmann’s Vor Sonnenaufgang – “Before Sunrise”; it had been for some time in the collection of a Detroit businessman, whose daughter, Jill Perkins, presents an edition of it here. Joyce scholars have long known of the existence of the manuscript, which is now a part of the Huntington Library’s extensive Joyce collection. They will welcome the chance to see it in print at last, valuing it for the insight it gives into the young man’s development as an artist.

  In her brief opening chapters Mrs. Perkins gives considerable attention to the hierarchy of influence descending from Henrik Ibsen through Hauptmann to Joyce. That influence is apparent in Joyce’s treatment of his characters, and it helped spark his enthusiasm for the realistic theater emerging in Norway and Germany. The author’s critical commentary is meticulously done, pointing out Joyce’s omissions and deviations from Hauptmann’s original work, comparing such variants with the original German. In some cases these show Joyce reading into Hauptmann’s words nuances of meaning that were different from those the German playwright intended; these too are pointed out and compared with the German text.

  As Joyce was all too well aware, the translation is less than a masterpiece. But as he once said of Ibsen’s first play, one reads the immature creations of a mature artist “simply that his work may be complete.”


Jill Perkins received her PhD in English from the University of Southern California, where she has been Lecturer in English.    








James Joyceの言語革命


James Joyceの状況認識―Dublinersの"The Sisters"の場合―

James Joyceのナルシシズム―内閉的世界の核心―

「神の犬」(Dog of God)―Ulyssesにおける動物群の象徴性とJames Joyceの世界認識

James Joyceの固有名詞―象徴主義の極限―

James Joyceにおける犬―その意味の一つの可能性―


附論(2)Samuel Beckettの肉体―とくにその反「直立歩行」状態について―




小田基 『二〇年代・パリ:あの作家たちの青春』(1978年)

JJBN: ODA-1978

小田基 『二〇年代・パリ:あの作家たちの青春』研究社出版、1978年.




第1章 二〇年代前夜――大西洋の向こう側
第2章 前衛の旗手たち、パリに集う
第3章 シェイクスピア書店、賑わう
第4章 リトル・マガジンと編集者たち
第5章 「ロスト・ジェネレーション」
第6章 エグザイルたち、パリを離れる








小田基 『ジョイスへの道』 (1979年)

JJBN: ODA-1979

小田基 『ジョイスへの道』 研究社選書、1979年




1 ジョイスとつきあう法
 1 作品論の構築を
 2 特権ある読者とは?
 3 〈照応〉という読み方
 4 今度は〈書きかえ〉作業で
2 『ユリシーズ』への道をたどる
 1 『ダブリンっ子』の苦さ
 2 「死者たち」のひろやかさ
 3 しかし、なぜ書けなかったのか?
 4 ノーラと、故郷アイルランドと
 5 そして、『肖像』が
3 『ユリシーズ』の世界へ
 1 一九〇四年六月一六日
 2 ユリシーズの冒険
 3 ブルームは、いま
4 『フィネガン』に耳を傾ける
 1 リッフィー河は流れて
 2 アンナ・リヴィア・プルラベル



Colin MacCabe / James Joyce and the Revolution of the Word (1979)

JJBN: MacCabe-1979

MacCabe, Colin. James Joyce and the Revolution of the Word. Macmillan, 1979. 










. . . (MacCabe is) the most lucid, least blinkered expounder of the post-structuralist mysteries I have ever come across. This is an important, challenging book, which no Joycean can afford to ignore – David Lodge
. . . (this is) the most exciting and original book on Joyce to have appeared for many years . . . – Terry Eagleton, New Statesman
. . . MacCabe’s book stays well clear of the conventional approaches to Joyce, and come to grips with his work in an immediate and refreshing way. His predominant concern is for the contours of the text itself, the process of signifying, and the constant struggle for meaning which it imposes on the reader. He takes Joyce at his word – Hibernia
. . . MacCabe has pointed the way for a new understanding of Joyce and most certainly merits serious attention – Time Literary Supplement


James Joyce continues to baffle and embarrass his readers. Despite the number of critical studies which promise a ‘key’ to Ulysses or Finnegans Wake, Joyce’s texts remain largely unreadable. But this difficulty is a difficulty in our very notion of reading. For Joyce’s texts do not attempt to produce a meaning but to investigate the processes of the production of meaning. In order to read Joyce’s texts we do not need an imaginary cipher that will break the non-existent code, but we do need an understanding of the practices of writing with which Joyce engaged and which demand, in their turn, a new experience of reading.
What we must understand, as a preliminary to Joyce’s texts, is not a system of correspondences or a variety of arcane references but the strategies of writing which would lead an Irishman living in Europe to declare war on the English language; which would entail that the most famous ‘feminine’ monologues in modern English literature are penned by a man.
This study attempts to produce such an understanding by analysing Joyce’s linguistic experiments both sexually and politically.


Colin MacCabe studied philosophy and English at Trinity College, Cambridge, and the Ecole Normale Supérieure. He was a Research Fellow at Emmanuel College and a Fellow of King’s College, Cambridge, before taking up the post of Professor of English Studies at Strathclyde University in 1981.




いわゆるポスト構造主義批評の粋を集めたマッケイブの代表作。マッケイブは、FWの中に、必然的に失敗を含み込んだ「政治性」を見出し、たとえばそれはChengの"Joyce, Race and Empire"に引き継がれている。


Willard Potts, ed. / Portraits of the Artist in Exile: Recollections of James Joyce by Europeans. (1979)

JJBN: Potts-1979

Potts, Willard, ed. Portraits of the Artist in Exile: Recollections of James Joyce by Europeans. Seattle: U of Washington P, 1979. 




Alessandro Francini Bruni 

  Joyce Stripped Naked in the Piazza 

  Recollections of Joyce 

Silvio Benco

  James Joyce in Trieste 

August Suter

  Some Reminiscences of James Joyce

Georges Borach

  Conversations with James Joyce 

Nino Frank

  The Shadow That Had Lost Its Man 

Philippe Soupault

  James Joyce 

Adolf Hoffmeister

  James Joyce

  Portrait of Joyce 

Ole Vinding

  James Joyce in Copenhagen 

Jan Parandowski 

  Meeting with Joyce 

Louis Gillet

  Farewell to Joyce

  The Living Joyce 

Jacques Mercanton

  The Hours of James Joyce 

Carola Giedion-Welcker

  Meetings with Joyce  

Paul Ruggiero and Paul Léon.

  James Joyce's Last Days in Zurich 

  In Memory of Joyce 





Although numerous recollections attest to James Joyce’s life-long ties to Ireland, in many ways Europe, where he found his chief literary inspiration, wrote all his major work, and spent most of his adult life, had an even greater significance to him. Of the biographical sources bearing on Joyce’s experience in, and relationship with, Europe, the most important are the recollections of Europeans who knew him in “exile,” as he referred to his life abroad. The European recollections compiled here, many of them appearing for the first time in English, span Joyce’s exile, from his arrival in Pola in 1904 at the age of twenty-two until his death in Zurich nearly thirty-seven years later.


Some of these recollections are by close friends, others by casual acquaintances. A few by people who knew him only briefly. Together they describe his response to nearly every aspect of European life and provide vivid glimpses of Joyce in a wide range of moods and circumstances. They show that he felt much more at ease with Europeans than with his fellow Dubliners, that he came to know the chief cities of his exile – Trieste, Zurich, Paris – almost as well as he did Dublin and that he found them much more to his taste. They portray a man intent on transforming himself into the ideal person Joyce once referred to as “the Good Terrafirmaite,” who was “equally at home” anywhere in Europe.


These descriptions give vivid glimpses of Joyce in a wide range of moods and circumstances: standing with Alessandro Francini Bruni in a bar full of tipsy Triestines, singing Italian drinking songs at the top of his lungs; sitting silently in his darkened Paris flat while the young Nino Frank fails in desperate attempts at starting a conversation; calling Adolf Hoffmeister’s attention to a vase of small flags on the piano and remarking proudly that each one represents a new edition of Ulysses; with Carola Giedion-Welcker passing along a snowy Zurich sidewalk hand in hand with his grandson Stephen. Other recollections, by Silvio Benco, August Suter, Georges Borach, Philippe Soupault, Ole Vinding, Jan Parandowski, Louis Gillet, Jacques Mercanton, Paul Ruggiero, and Paul Léon, present Joyce from many points of view, each emphasizing some different facet of his character or experience.


Many of Joyce’s conversations are recorded in remarkable detail, often on the basis of notes kept at the time. Some concern himself, especially his life in Europe. Another major topic is European writers, with Ibsen and Dante predominating. But the most extensive and detailed conversations deal with his own work, making the European recollections one of the richest sources of his authorial remarks. The comments, most of which concern Ulysses and Finnegans Wake, explain particular passages and general techniques as well as his intentions, hopes, and fears regarding his work. The composite picture of Joyce that emerges from Portraits of the Artist in Exile will be invaluable to Joyce scholars as well as to all those interested in the man and his work.


Willard Potts is professor of English at Oregon State University, Corvallis. 


Frank Budgen / James Joyce and the Making of 'Ulysses' (1972)


Budgen, Frank. James Joyce and the Making of 'Ulysses' and Other Writings. Oxford UP, 1972.




Introduction by Clive Hart

A Note on this Edition

James Joyce and the Making of 'Ulysses' (1934)


Author's Note

Chapters I-XIV

Other Writings

Joyce's Chapters of Going Forth by Day (1939-41)

James Joyce (1941)

Further Recollection of James Joyce (1955)





Frank Budgen's James Joyce and the Making of 'Ulysses', first published in 1934, is the only first-hand account we have of the growth of Joyce's great work. The record of the painter's friendship with Joyce in Zürich in 1918-19, when Ulysses was being written, it is also an acute critical commentary on the novel itself. Long unavailable in its oroginal form, this invaluable book is now reissued together wih three of Budgen's essays: 'James Joyce's Chapters of Going Forth by Day' (1933-41), on Finnegans Wake; a deeply felt obituary of the writer; and  'Further Recollections of James Joyce' (1955). In his introduction the Joyce scholar Clive Heart, Professor of English at the University of Dundee, draws on unpublished Joyce material to trace the histroy of Budgen's book, and pays a personal tribute to the author, his friend, who died in 1971 at the age of eighty-nine. 


Robert Martin Adams / After Joyce: Studies in Fiction After Ulysses


Adams, Robert Martin. After Joyce: Studies in Fiction After Ulysses. Oxford UP, 1977.






Three Thematic Interludes

Woolf and Faulkner

Samuel Beckett

Carlo Emilio Gadda

Döblin, Broch

Vladimir Nabokov


Mod-Romantics: Durrell, Burgess

Arabesques: Pynchon, Lezama

Motley: Barth, O'Brien—and the Borges

The Joyce Era? 

Rovert H. Deming / James Joyce: The Critical Heritage, vol. 1 1907-1927 (1970)


Deming, Rovert H. James Joyce: The Critical Heritage, vol. 1, Routledge & Kegan Paul, 1970. 





1 GEORGE RUSSELL (Æ) On James Joyce 1902

2 Æ on Joyce 1902

3 STANISLAUS JOYCE on his brother 1903

4 Æ on Joyce 1903

5 STANISLAUS on Joyce 1904

6 Æ on Joyce 1905

Chamber Music (1907)

7 ARTHUR SYMONS on Joyce 1906

8 THOMAS KETTLE, review in Freeman’s Journal 1907

9 SYMONS, review in Nation 1907

10 Notice in Bookman (London) 1907

11 Opinions of Chamber Music 1907

12 Review in Egoist 1918

13 ‘M. A.’ review in New Republic 1919

14 MORTON D. ZABEL on Chamber Music 1930

15 LOUIS GOLDING on Joyce’s poetry 1933

16 ARTHUR SYMONS on Joyce’s poetry 1933

17 ITALO SVEVO on Joyce’s 1909

Dubliners (1914)

18 An Irish view of Dubliners 1908

19 SYMONS on Dubliners 1914

20 Review in Times Literary Supplement 1914

21 Review in Athenæum 1914

22 GERALD GOULD on Dubliners 1914

23 Review in Everyman 1914

24 Review in Academy 1914

25 EZRA POUND on Dubliners 1914

26 Review in Irish Book Lover 1914

27 A French view of Dubliners 1926

28 Review of the French translation 1926

29 Another French view of Dubliners 1926

30 Review of the French translation 1926

31 A later opinion of Dubliners 1930

32 Review of the German translation 1934

Opinions: 1915-16

33 POUND to H. L. Mencken 1915

34 POUND to Mencken 1915

35 W. B. YEATS to Edmund Gosse 1915

36 W. B. YEATS on Joyce 1915

37 GEORGE MOORE on Joyce 1916

A Portrait of the Artist as a Young Man (1916)

38 Reader’s Report on A Portrait of the Artist 1916

39 POUND on A Portrait 1917

40 Review in Everyman 1917

41 H. G, WELLS, review in Nation 1917

42 A. CLUTTON-BROCK, review in Times Literary Supplement 1917

43 Review in Literary World 1917

44 Review in Manchester Guardian 1917

45 FRANCIS HACKETT, review in New Republic 1917

46 Notice in Nation (New York) 1917

47 Review in Freemans Journal 1917

48 J. C. SQUIRE, review in New Statesman 1917 99

49 Review m Irish Book Lover 1917

50 JOHN QUINN, review in Vanity Fair 1917

51 VAN WYCK BROOKS, review in Seven Arts 1917

52 JOHN MACY, review of A Portrait and Dubliners 1917

53 Review in New Age 1917

Comments on A Portrait: 1917-22

54 STANISLAUS on A Portrait 1904

55 POUND to John Quinn 1917

56 An Italian comment on A Portrait 1917

57 JANE HEAP on Joyce 1917

58 MARGARET ANDERSON on Joyce 1917

59 A POUND editorial on Joyce and Wyndham Lewis 1917

60 WYNDHAM LEWIS on A Portrait 1937

61 JOHN T. HARRIS on the unconventional 1918

62 HART CRANE on Joyce and ethics 1918

63 VIRGINIA WOOLF on Modern Novels 1919

64 FLORENT PELS, review of 1920

65 FORD MADOX FORD on Joyce 1922

Exiles (1918)

66 GEORGE BERNARD SHAW, the Stage Society and Exiles

67 G.B.S., the Stage Society and Exiles

68 POUND on Exiles and the modern drama 1916

69 Review in Freemans Journal 1918

70 A. CLDTTON-BROCK, review in Times Literary Supplement 1918

71 DESMOND MACCARTHY, review in New Statesman 1918

72 PADRAIC COLUM, review in Nation 1918

73 FRANCIS HACKETT, review in New Republic 1918

74 Little Review symposium on Exiles 1919

75 A French comment on Exiles 1919

76 FRANCIS FERGUSSON on Exiles and Ibsen 1932

77 BERNARD BANDLER on Exiles 1933

Some Views from 1918 to 1921

78 P. BEAUMONT WADSWORTH on Joyce 1917

79 POUND to Mencken 1918

80 POUND to John Quinn 1918

81 PADRAIC COLUM on Joyce and Dublin 1918

82 POUND on the early works 1918

83 SILVIO BENCO on Joyce and Trieste 1918

84 YEATS to John Quinn 1918

85 SCOFIELD THAYER on Joyce’s works 1918

86 POUND to John Quinn 1920

87 EVELYN SCOTT on Joyce and modernity 1920

88 J. C. SQUIRE on Joyce 1921

89 ARTHUR POWER on Joyce 1921

90 Joyce and Jazz prose 1921

Ulysses (1922)

91 VALÉRY LARBAUD, reaction to Ulysses 1921

92 Ulysses and censorship 1921

93 RICHARD ALDINGTON on the influence of Joyce 1921

94 SHAW’s reaction to the Ulysses prospectus 1921

Ulysses: Reviews

95 Review in Daily Express 1922

96 Review in Sporting Times (The Pink'Un) 1922

97 Review in Evening News 1922

98 JOHN M. MURRY, review in Nation & Athenæum 1922

99 HOLBROOK JACKSON, review in To-Day 1922

100 Review in Dublin Review 1922

101 Reaction to a review 1922

102 SHANE LESLIE, review in Quarterly Review 1922

103 GEORGE REHM, review in Chicago Tribune 1922

104 SISLEY HUDDLESTON, review in Observer 1922

105 GEORGE SLOCOMBE, review in Daily Herald 1922

106 ARNOLD BENNETT, review in Outlook 1922

107 JOSEPH COLLINS, review in New York Times 1922

108 EDMUND WILSON, review in New Republic 1922

109 MARY COLUM, review in Freeman 1922

110 GILBERT SELDES, review in Nation 1922

Ulysses: Reviews of the American Edition (1934)

111 HORACE GREGORY, review in New York Herald Tribune 1934

112 GILBERT SELDES, review in New York Evening Journal 1934

113 Review in Carnegie Magazine 1934

114 ROBERT CANTWELL, review in New Outlook 1934

115 EDWIN BAIRD, review in Real America 1934

116 Review of the English edition in New Statesman 1936

117 Review of the English edition in Times Literary Supplement 1937

Contemporary Critical Opinions

118 VALÉRY LARBAUD on Joyce 1922

119 POUND on Ulysses and Flaubert 1922

120 T. S. ELIOT on Ulysscs and myth 1923

121 JOHN EGLiNTON on Joyce’s method 1922

122 CECIL MAITLAND on the Catholic tradition 1922

123 ALFRED NOYES on literary Bolshevism 1922

124 FORD MADOX FORD on Ulysses and indecency 1922

125 PAUL CLAUDEL on Ulysses 1922

126 ROBERT MCALMON on Joyce and Ulysses 1920-2

127 OLIVER ST. JOHN GOGARTY comment on Ulysses 1922

128 GERTRUDE STEIN on Joyce 283


130 HART CRANE on Ulysses 1922

131 FORD MADOX FORD on Ulysses 1922


132 GEORGE SLOCOMBE on Joyce 1923

133 ALEISTER CROWLEY on the novel of the mind 1923

134 An interview with VALÉRY LARBAUD 1923

135 YEATS and the Dublin Philosophical Society 1923

1923 Ulysses

136 An Irish comment on Ulysses 1923

137 An Irish opinion of Joyce 1923

138 STEPHEN GWYNN on modern Irish literature 1923

139 ERNEST BOYD on Ireland’s literary renaissance 1923

1924 Ulysses

140 F. M. FORD on the cadence of Joyce’s prose 1924

141 Comment on YEAT’s discovery of Joyce 1924

142 AlEC WAUGH on Joyce’s style 1924

143 FRANKLIN ADAMS, comment on Ulysses 1924

144 JULIEN GREEN comments on Ulysses 1924

145 EDMUND GOSSE to Louis Gillet 1924

146 LOUIS CAZAMIAN on Joyce and Ulysses 1924


147 ERNEST BOYD on Joyce 1925

148 EDMUND WILSON on Joyce as a poet 1925

1925 Ulysses

149 R. H. PENDER on Ulysses 1925

150 EDWIN MUIR on the meaning of Ulysses 1925

151 A French critique of Louis Gillet 1925

152 German comment on Ulysses by BERNHARD FEHR 1925

153 RENE LALOU on Joyce’s Works 1926

154 POUND on ‘Work in Progress’ 1926 

Pomes Penyeach (1927)

155 GEORGE SLOCOMBE, review in Daily Herald 1927

156 B, review in Irish Statesman 1927

157 Review in Nation 1927

158 MARCEL BRiON, review in Les Nouvelles littéraires 1927

159 EDMUND WILSON, review in New Republic 1927

160 PADRAIC COLUM, review in New York World 1928

161 ROBERT HILLYER, comment in New Adelphi 1928


162 YEATS on Joyce in the Irish Senate 1927

1927 Ulysses

163 ITALO SVEVO, lecture on Joyce at Milan 1927

164 ARMIN KESSER on the German Ulysses 1927

165 WYNDHAM LEWIS on time in Joyce 1927

166 HERBERT GORMAN on Joyce’s form 1927

167 YVAN GOLL on Ulysses 1927

168 Another GOLL comment on Ulysses 1927

1927 ‘Work in Progress’

169 MARY COLUM on the enigma of ‘Work in Progress’ 1927

170 HENRY SEIDEL CANBY, reaction to ‘Work in Progress’ 1927 374

171 ‘AFFABLE HAWK’ dissatisfaction with ‘Work in Progress’ 1927 375

172 WILLIAM CARLOS WILLIAMS On Joyce’s Style 1927

173 EUGÉNE JOLAS et al, answer Wyndham Lewis 1927

174 GERTRUDE STEIN and T. S. ELIOT on Joyce 1927

175 EUGÉNE JOLAS, memoir of Joyce 1927 

Rovert H. Deming / James Joyce: The Critical Heritage, vol. 2 1928-1941 (1970)


Deming, Rovert H. James Joyce: The Critical Heritage, vol. 2, Routledge & Kegan Paul, 1970. 




Anna Livia Plurabelle, ALP (1928)

176 Early reaction from STANISLAUS JOYCE 1924 page 177

PADRAIC COLUM, 'Preface' for Anna Livia Plurabelle 1928

178 SEAN O'FAOLAIN on the language of ALP 1928 179 GERALD GOULD, comment in Observer 1928

180 Review in Times Literary Supplement 1928

181 Æ, review in Irish Statesman 1928

182 O'FAOLAIN, reply to review in Irish Statesman 1929

183 EUGÈNE JOLAS, reply to Sean O'Faolain 1929

184 O'FAOLAIN, reply to Eugène Jolas 1929

185 CYRIL CONNOLLY, review in Life and Letters 1929

186 ARNOLD BENNETT, comment in London Evening Standard 1929

187 LEON EDEL on Work in Progress 1930

188 G. W. STONIER, review of ALP and Haveth Childers Everywhere 1930

189 T.L.S. review of ALP and HCE 1930

190 O'FAOLAIN re-reading of ALP 1930

191 PHILIPPE SOUPAULT and the French translation of ALP 1931

192 French comment on Work in Progress 1931

193 MAX EASTMAN, interview with Joyce about ALP 1931


194 F. SCOTT FITZGERALD and Joyce 1928

195 ELLEN GLASGOW on the novel 1928

196 DENIS MARION on Joyce 1928

1928 Ulysses

197 SISLEY HUDDLESTON on Joyce and Sylvia Beach 1928

198 A French comment on Joyce the romancier 1928

199 REBECCA WEST on Joyce 1928

200 CAROLA GIEDION-WELCKER on Ulysses 1928

201 STEFAN ZWEIG on Ulysses 1928

202 GERHARDT HAUPTMANN on Ulysses 1928

203 ERNST R. CURTIUS on Joyce's works 1928



1928 Work in Progress

205 JACK LINDSAY on the modern consciousness 1928

206 ROBERT MCALMON on Joyce, transition and ALP 1928

207 H. G. WELLS deserts the standard 1928


208 JOHN EGLINTON on Joyce's emancipation 1929

1929 Ulysses

209 JACK KAHANE, comment on Ulysses 1929

210 WYNDHAM LEWIS to A. Symons on Ulysses 1929 ADRIENNE MONNIER on Ulysses and French public 1929

212 ERNST R. CURTIUS on Ulysses 1929

213 JEAN CASSOU, review of French Ulysses 1929

214 ARNOLD BENNETT on the influence of Ulysses 1929

215 MARCEL BRION, review of Ulysses 1929

216 MARC CHADOURNE, comment on Ulysses 1929

217 PAUL SOUDAY, opinion of Ulysses 1929

218 MARCEL THIEBAUT, review of Ulysses 1929

219 BRIAN PENTON, comment on the form of the novel1929

220 S. FOSTER DAMON on Ulysses and Dublin 1929

221 EDMOND JALOUX on the English novel 1929

1929 Work in Progress

222 PADRAIC COLUM assisting with Work in Progress 1929

223 MAX EASTMAN on unintelligibility 1929

224 HARRY CROSBY answers Max Eastman 1929

225 C.K. OGDEN on linguistic experiment 1929

226 ARNOLD BENNETT on the oddest novel 1929

227 C. GIEDION-WELCKER on Joyce's experiment 1929

228 MICHAEL STUART on Work in Progress 1929

Tales Told of Shem & Shaun (TTSS) (August 1929)

229 Editorial in New York Times 1929

230 MICHAEL STUART on the sublime 1929

231 HAMISH MILES, review in Criterion 1930

232 Review in Saturday Review 1932

233 D. G. BRIDSON, review in New English Weekly 1933

234 B. OLDMEADOW, review in Tablet 1933

235 Unsigned comment on T. S. Eliot and Joyce 1933



236 FRANK O'CONNOR on Joyce 1930

237 HERBERT READ on classic or romantic 1930

238 HERBERT READ on Joyce's influence 1930

239 PHILIPPE SOUPAULT on Joyce 1930 (1943, 1959, 1963)

1930 Ulysses

240 AUSTIN CLARKE on Joyce 1930

241 G. K. CHESTERTON on Joyce 1930

1930 Work in Progress

242 PAUL L. LÉON and Joyce 1930

243 REBECCA WEST on Work in Progress 1930

244 STUART GILBERT on Joyce's growth 1930

Haveth Childers Everywhere (HCE) (June 1930)

245 PADRAIC COLUM, review in New Republic 1930

246 MICHAEL PETCH, opinion in Everyman 1931

1931 Ulysses

247 SISLEY HUDDLESTON on Joyce and Ulysses 1931

248 WYNDHAM LEWIS on Joyce 1931

249 HENRI FLUCHÈRE on Ulysses 1931

250 A FELLOW DUBLINER on Joyce, S. Gilbert and Gogarty 1931

251 HAROLD NICOLSON on the significance of Joyce 1931

1931 Work in Progress

252 STUART GILBERT explicates Work in Progress 1931

253 GEORGE MOORE to Louis Gillet 1931

254 MICHAEL STUART on Joyce's word creatures 1931 


255 EUGÈNE JOLAS, homage to Joyce 1932

256 ELLIOT PAUL, comment on Joyce 1932

257 DESMOND MACCARTHY on the postwar novel 1932

258 JOHN EGLINTON on the early Joyce 1932

1932 Ulysses

259 HENRY DANIEL-ROPS on the interior monologue 1932

260 THOMAS WOLFE, comment on Ulysses 1932

261 CARL JUNG, letter to Joyce 1932

262 CARL JUNG on Ulysses 1932

263 L. A. G. STRONG on Joyce 1932


264 A. LYNER on music and Joyce 1933

265 MIRSKY on bourgeois decadence 1933

1933 Ulysses

266 EMERIC FISCHER on the interior monologue 1933

267 POUND on Ulysses and Wyndham Lewis 1933

268 ROBERT CANTWELL on Joyce's influence 1933

269 G. K. CHESTERTON on eccentricity 1933

1933 Work in Progress

270 EUGÈNE JOLAS explication 1933

271 RONALD SYMOND on 'The Mookse and the Gripes' 1934

1934 Mime of Mick, Nick and the Maggies (Mime)

272 G. W. STONIER, review in New Statesman 1934


273 MALCOLM COWLEY on religion of art 1934

274 JOHN H. ROBERTS on religion to art 1934

275 A Communist on Joyce 1934

276 FRANK BUDGEN on Joyce 1934

1934 Ulysses

277 ALEC BROWN on Ulysses and the novel 1934

278 ERNEST BOYD on Joyce's influence 1934

279 KARL RADEK on Joyce's realism 1934

280 FRANK SWINNERTON on Joyce and Freud 1934


1934 Work in Progress

281 RICHARD THOMA on the dream in progress 1934

282 EDITH SITWELL on prose innovations 1934



283 DOROTHY RICHARDSON on Joyce 1935 284 L. A. G. STRONG on the novel 1935

285 L.A. G. STRONG on Joyce and new fiction 1935


286 James Joyce and Gertude Stein 1936

287 THOMAS WOLFE on Ulysses 1936

288 JAMES T. FARRELL, reply to Mirsky and Radek 1936

Collected Poems (1936)

289 Review in New York Herald Tribune 1936

290 HORACE REYNOLDS, Comment in New York Times 1937

291 IRENE HENDRY on Joyce's poetry 1938


292 MARY COLUM on Joyce 1937


293 on Joyce and Ulysses 1938

294 A Marxian view of Ulysses 1938

295 EUGÈNE JOLAS, homage and commentary 1938


Finnegans Wake (1939)

296 L.A. G. STRONG, review in John O' London's Weekly 1939

297 PAUL ROSENFELD, review in Saturday Review of Literature 1939

298 LOUISE BOGAN, review in Nation 1939

299 Review in Times Literary Supplement 1939

300 PADRAIC COLUM, review in New York Times 1939

301 OLIVER GOGARTY, review in Observer 1939

302 EDWIN MUIR, review in Listener 1939

303 B. IFOR EVANS, review in Manchester Guardian 1939

304 G. W.STONIER, review in New Statesman 1939

305 GEORGES PELORSON, review in Aux Ecoutes 1939

306 MALCOLM MUGGERIDGE, review in Time and Tide 1939

307 ALFRED KAZIN, review in New York Herald Tribune 1939

308 MORLEY CALLAGHAN, review in Saturday Night 1939

309 RICHARD ALDINGTON, review in Atlantic Monthly 1939

310 Review in Irish Times 1939

311 HARRY LEVIN, review in New Directions 1939

312 WILLIAM TROY, review in Partisan Review 1939

313 A. GLENDINNING, review in Nineteenth Century 1939

314 Review in Dublin Magazine 1939

315 SALVATORE ROSATI, review in Nuova Antologia 1939

Contemporary Critical Comment

316 SEAN O'CASEY, letter to Joyce 1939

317 DOROTHY RICHARDSON, opinion 1939

318 LEON EDEL on Finnegans Wake 1939

319 MARY COLUM on Finnegans Wake 1939

320 MARGARET SCHLAUCH on Joyce's language 1939

321 LOUIS GILLET on Finnegans Wake 1940

322 WALTER RYBERT on how to read Finnegans Wake 1940

323 JOHN PEALE BISHOP on Finnegans Wake 1940


324 MAX RYCHNER on Ulysses 1941

325 VAN WYCK BROOKS on Joyce 1941

Critical Obituaries

326 THORNTON WILDER, in Poetry 1941

327 CYRIL CONNOLLY, in New Statesman 1941

328 Notice in New Republic 1941

329 STEPHEN SPENDER, in Listener 1941

330 OLIVER GOGARTY, in Saturday Review of Literature 1941

331 Notice in Times Literary Supplement 1941

332 J. DONALD ADAMS, in New York Times 1941

333 PADRAIC COLUM, reply to Oliver Gogarty 1941

334 FRANK BUDGEN, in Horizon 1941

335 T. S. ELIOT, in Horizon 1941

After 1941

336 PAUL LÉON remembers 1942

337 JAMES STEPHENS remembers 1946

338 OLIVER GOGARTY comments 1950

339 OLIVER GOGARTY corrects memories 1950

340 MARY COLUM corrects Gogarty 1950.

341 STANISLAUS JOYCE corrects Gogarty 1953

342 MALCOLM COWLEY recalls Joyce and Sylvia Beach 1963

343 JANET FLANNER recalls Joyce and Sylvia Beach 1963

344 An Irish last word 1964


Early Editions of the Writings of James Joyce


Selected Bibliography


Book-length studies published during Joyce's lifetime and critical studies which have been collected or reprinted and are readily accessible


Reviews and early critical studies excluded from this volume



Stanislaus Joyce / The Complete Dublin Diary of Stanislaus Joyce (1971)


Joyce, Stanislaus. The Complete Dublin Diary of Stanislaus Joyce, edited by George H. Healey, Cornell UP, 1971. 


Joyce, Stanislaus. The Complete Dublin Diary of Stanislaus Joyce, edited by George Healey, Anna Livia P, 1994.