エドゥアール・デュジャルダン『内的独白について』鈴木幸夫・柳瀬尚紀訳、1970年.(Uploaded by MINAMITANI on 16 July 2011)
JJBN: STALEY AND BENSTOCK-1970
Staley, Thomas F. and Benstock, Bernard, Ed. Approaches to Ulysses. London: University of Pittsburgh Press, 1970. (Uploaded by KOBAYASHI on 11 October 2011)
THOMAS F. STALEY AND BERNARD BENSTOCK
1 Stephen Dedalus and the Temper of the Modern Hero
THOMAS F. STALEY
2 The Priesthoods of Stephen and Buck
ROBERT BOYLE, S.J.
3 Motif as Meaning: The Case of Leopold Bloom
RICHARD M. KAIN
4 The Empirical Molly
5 Some Determinants of Molly Bloom
6 The Fictional Technique of Ulysses
WILLIAM M. SCHUTTE AND ERWIN R. STEINBERG
7 Ulysses by Way of Culture and Anarchy
H. FREW WAIDNER, III
8 Ulysses: The Making of an Irish Myth
9 The Allusive Method in Ulysses
10 Ulysses in Translation
ABOUT THE BOOK
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.
Brandabur, Edward. A Scrupulous Meanness: A Study of Joyce’s Early Work. Urbana: U of Illinois P, 1971. (Uploaded by KOBAYASHI on 26 November 2014)
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
Ellmann, Richard. Ulysses on the Liffey. New York: Oxford University Press, 1972.
(Uploaded by HIRASHIGE on 28 October 2011)
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
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
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
Appendix The Linati and Gorman-Gilbert
Epifanio San Juan. Jr. James Joyce and the Craft of Fiction: An Interpretation of Dubliners. New Jersey: Associated University Press, 1972.
(Uploaded by MINAMITANI on 14 Apr, 2013)
Part I The Interpretations of Signs
1 The Sisters
2 An Encounter
Part II A Special Odor
5 After the Race
6 The Boading House
Part III A Gentle Way of Putting It
8 A Little Cloud
11 A Painful Case
Part IV Scrupulous Meanness
12 Ivy Day in the Committee Room
13 A Mother
Part V Catharsis
15 The Dead
Bibliographical Note and Selected Bibliography
ABOUT THE BOOK
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.
Beja, Morris, ed. James Joyce: Dubliners and A Portrait of the Artist as a Young Man; A Casebook. London: Macmillan, 1973.
(Uploaded by KOBAYASHI on 23 July 2011)
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)
Notes on Contributors
Bowen, Zack. Musical Allusions in the Works of James Joyce: Early Poetry though Ulysses. Albany: State U of New York P, 1974.
introduction to Poetry
Introduction to Exiles
Introduction to Dubliners
Introduction to Stephen Hero
Introduction to A Portrait of the Artist as a Young
A Portrait of the Artist as a Young
Introduction to Ulysses
Shechner, Mark. Joyce in Nighttown: A Psychoanalytic Inquiry into Ulysses. Berkeley: U of California P, 1974. (Uploaded by KOBAYASHI on 5 March 2015)
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
ABOUT THE BOOK
“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.
(Uploaded by MINAMITANI on 14 Jul, 2013)
ジョイス死後三十年 ―序にかえて― 丸谷才一
JJBN: HART & HAYMAN-1974
Hart, Clive and Hayman, David, Ed. James Joyce's “Ulysses”: Critical Essays. Berkeley: University of California Press, 1974. (Uploaded by KOBAYASHI on 31 May 2011)
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
SCYLLA AND CHARYBDIS Robert Kellogg
WANDERING ROCKS Clive Hart
SIRENS Jackson I. Cope
CYCLOPS David Hayman
NAUSICAA Fritz Senn
THE OXEN OF THE SUN J. S. Atherton
CIRCE Hugh Kenner
EUMAEUS Gerald L. Bruns
ITHACA A. Walton Litz
PENELOPE Fr. Robert Boyle, S.J.
ABOUT THE BOOK
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
Norris, Margot. The Decentered Universe of Finnegans Wake: A Structuralist Analysis. Baltimore and London: The John Hopkins University Press, 1974.
(Uploaded by KOBAYASHI on 20 April 2013)
INTRODUCTION: THE CRITICAL METHOD
Structure and Language
Chapter One: READING FINNEGANS WAKE
The Novelistic Fallacy
The Integration of Elements
Chapter Two: THE NARRATIVE STRUCTURE
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
In the Name of the Father
Redemption: The Failure of the Sun
Redemption: Maternal Salvage
Chapter Four: THE ONTOLOGICAL CONDITION
Chapter Five: DREAM AND POETRY
The Dream Process
Chapter Six: TECHNIQUE
ABOUT THE BOOK
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.
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.
(Uploaded by MINAMITANI on 23 October 2011)
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
French, Marilyn. The Book as World: James Joyce's Ulysses. Cambridge, Mass: Harvard UP, 1976.
*右書影は、ペーパーバック版French, Marilyn. The Book as World: James Joyce's Ulysses. New York: Paragon House, 1993. より
(Uploaded by MINAMITANI on 26 May 2014)
James Joyce: Mortal Immoral
Introduction to First Edition
 The Reader and the Journey
 The World as Book
 The Rock of Ithaca
 The City
 The World
 The Universe
 Coda: The Earth
Seidel, Michael. Epic Geography: James Joyce's Ulysses. New Jersey: Princeton University Press, 1976.
LIST OF MAPS
LIST OF ABBREVIATIONS
ZOPHOS: TOWARD THE GLOOM
Migrations, Orientations, Directions
Macroanthropos, Heaventree, Circle Squared
INFLUENCE OF THE CLIMATE
Geography and National Temperament
THE EPIC'S NOVEL GEOGRAPHY
Homer, Joyce, Defoe
THE MYTHS OF PROTEUS
Masterplots and Masterbilkers
PRELIMINARY MAPPINGS: Orientations, Wanderings, Nostos
THE WANDERINGS OF ODYSSEUS I
Scylla and Charybdis
THE WANDERINGS OF ODYSSEUS II
Oxen of the Sun
THE MOTION IS ENDED
ABOUT THE BOOK
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.
Benstock, Bernard. James Joyce: The Undiscover’d Country. Dublin: Gill and Macmillan, 1977.
(Uploaded by KOBAYASHI on 3 July 2013)
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
NOTE ON THE STATE OF JOYCE BIBLIOGRAPHY
ABOUT THE BOOK
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).
Raleigh, John Henry. The Chronicle of Leopold Bloom and Molly: Ulysses as Narrative. Berkeley: U of California Press, 1977. (Uploaded by MINAMITANI on 24 Dec 2014)
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
Plan of 7 Eccles Street
Half-Floor Level of 7 Eccles Street
ABOUT THE BOOK
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.
Ellmann, Richard. The Consciousness of Joyce. London: Faber & Faber, 1977.
(Uploaded by KOBAYASHI on 4 September 2011) ＊
Chapter I Homer
1 What’s in a Name?
2 From Daedalus to Dedalus
4 Ulysses’ Last Voyage
5 Ulysses Redivivus
Chapter II Shakespeare
1 Unnatural Murder
2 Two Ghosts in Hamlet
3 Some Versions of Hamlet
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
ABOUT THE BOOK
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.’
Groden, Michael. Ulysses in Progress. New Jersey: Princeton University Press, 1977.
(Uploaded by HIRASHIGE on 23 July 2011)
Ulysses: The Three Stages
The Early Stage: "Aeolus"
The Middle Stage: "Cyclops"
The Last Stage: 1920-1922
Appendix - The Early Texts of Ulysses
ABOUT THE BOOK
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 te 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.
Kenner, Hugh. Joyce's Voices. Barkeley: University of California Press,1978. Rochester: Dalkey Archive Press, 2007.
(Uploaded by MINAMITANI on 29 May 2011)
2. The Uncle Charles Principle
3. Myth and Pyrrhonism
4. Beyond Objectivity
ABOUT THE BOOK
"An original and entertaining study. . . . This is a most stimulationg book."
In Joyce's Voices, Hugh Kenner, one of the leading literary critics of modern letters, turns his keen insight toward Jmaes Joyce Ulysses. Written in answer to a letter that asked him to elaborate on his assersion 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 narror-by usinfg 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 understaning one of the twentieth century's most brilliant writers.
Hugh Kenner(1923-2003) was one of the greatest literary ciritics of the twentieth century. He taught at several universities during his lifetime and was a frequent contributor to the Nationl 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。
*原著：Levin, Harry. James Joyce: A Critical Introduction. Norfolk: New Directions Books,1941）(Uploaded by MINAMITANI on 10 Jul. 2011)
Perkins, Jill, ed. Joyce and Hauptmann: Before Sunrise: James Joyce’s Translation. Los Angeles: Huntington Library, 1978.
(Uploaded by KOBAYASHI on 24 June 2015)
Provenance of the Manuscript
Joyce and European Drama: 1900-1906
The Play: Text and Notes
Notes to the Text
ABOUT THE BOOK
“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.
(Uploaded by MINAMITANI on 17 Mar 2014)
James Joyceの状況認識―Dublinersの"The Sisters"の場合―
「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
(Uploaded by KOBAYASHI on 6 October, 2012)
小田基 『ジョイスへの道』 研究社選書、1979年
(Uploaded by KOBAYASHI on 12 July 2011)
MacCabe, Colin. James Joyce and the Revolution of the Word. London: Macmillan, 1979.
(Uploaded by KOBAYASHI on 17 July 2011)
1 THEORETICAL PRELIMINARIES
2 THE END OF A META-LANGUAGE: FROM GEORGE ELIOT TO DUBLINERS
3 THE END OF THE STORY: STEPHEN HERO AND A PORTRAIT
4 A RADICAL SEPARATION OF THE ELEMENTS: THE DISTANCIATION OF THE READER IN ULYSSES
5 CITY OF WORDS; STREETS OF DREAMS: THE VOYAGE OF ULYSSES
6 A POLITICAL READING OF FINNEGANS WAKE
7 JOYCE’S POLITICS
. . . (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。
Potts, Willard, ed. Portraits of the Artist in Exile: Recollections of James Joyce by Europeans. Seattle: U of Washington P, 1979.
(Uploaded by KOBAYASHI on 20 September 2015)
Alessandro Francini Bruni
Joyce Stripped Naked in the Piazza
Recollections of Joyce
James Joyce in Trieste
Some Reminiscences of James Joyce
Conversations with James Joyce
The Shadow That Had Lost Its Man
Portrait of Joyce
James Joyce in Copenhagen
Meeting with Joyce
Farewell to Joyce
The Living Joyce
The Hours of James Joyce
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.