2000s -2

JJBN: ATTRIDGE-2000

Attridge, Derek. Joyce Effects: on Language, Theory, and History. Cambridge UP, 2000.

CONTENTS

1. Introduction: on being a Joycean

2. Deconstructive criticism of Joyce

3. Popular Joyce?

4. Touching 'Clay': Reference and reality in Dubliners

5. Joyce and the ideology of character

6. 'Suck was a queer word': Language, sex, and the remainder in A Portrait of the Artist as a Young Man

7. Joyce, Jameson, and the text of history

8. Wakean history: not yet

9. Molly's flow: the writing of 'Penelope' and the question of women's language

10. The postmodernity of Joyce: chance, coincidence, and the reader

11. Countlessness of live-stories: narrativity in Finnegan's Wake

12. Finnegans awake, or the dream of interpretation

13. The Wake's confounded language

14. Envoi

Judging Joyce

ABOUT THE BOOK

Joyce Effects is a series of connected essays by one of today's leading commentators on James Joyce. Joyce's books, Derek Attridge argues, go off like fireworks, and one of this book's aims is to enhance the reader's enjoyment of these special effects. He also examines another sort of effect: the way Joyce's writing challenges and transforms our understanding of language, literature, and history. Attridge's exploration of these transforming effects represents fifteen years of close engagement with Joyce, and reflects the changing course of Joyce criticism during this period. Each of Joyce's four major books is addressed in depth, while several shorter chapters take up particular theoretical topics such as character, chance and coincidence, historical writing and narrative as they are staged and scrutinized in Joyce's writing. Through lively and accessible discussion, this book advances a mode of reading open to both the pleasures and the surprises of the literary work.

JJBN: GOTTFRIED-2000

Gottfried, Roy. Joyce's Comic Portrait. UP of Florida, 2000.

CONTENTS

Foreword by Zack Bowen

Acknowledgments

Introduction. "To Tumble" Rather Than "To Fall": The Comic Portrait

1. "The Comic Irishman in the Bench Behind": The Portrait with Two Heads

2. The Surd and the Absurd: The Conflated Language of Comedy

3. Two Comic Contexts

4. Obscure Arts and the Economy of Vulgar Language

5. The Portrait Alternately Portrayed

Notes

Selected Bibliography

Index

ABOUT THE BOOK

"An overall argument that is strong and sound and important to our understanding of Joyce’s comic project."--Claire A. Culleton, Kent State University

In the first book-length study of the comedic in Portrait of the Artist as a Young Man, Roy Gottfried argues that, far from being a solemn work, Joyce’s early masterpiece is covertly but determinedly comic. Specifically, he looks at the Portrait’s narrative structure, the protagonist Stephen’s conscious disavowal of humor, and Joyce’s comic use of word-play, vulgarity, and gendered language to establish the work’s doubled nature.

In Portrait of the Artist, Gottfried argues, Stephen attempts to put all humor away from him, perceiving it as a temptation to abandon his sense of high seriousness and mission. Routinely, however, the comedic intrudes, creating a shadow or a double that challenges the very nature of "portraiture."

Central to Gottfried’s argument and method is a comparison of Portrait and the earlier Stephen Hero, in which Gottfried demonstrates how Joyce deliberately edited the more overtly comic Stephen Hero to create a Portrait in which the comedic is diffused and backgrounded but never erased, existing always just beyond or behind the text.

Gottfried also looks at Joyce’s early theorizing about the comic, the development of his prose style across time, and the comedic influence of popular culture on Portrait. Challenging long-held assumptions in Joyce scholarship, Joyce’s Comic Portrait is an original and lively contribution of interest to students and scholars alike.

Roy Gottfried is professor of English at Vanderbilt University and author of Joyce’s Iritis and the Irritated Text: The Dis-lexic Ulysses (UPF, 1995), winner of the South Atlantic Modern Language Association Book Award.

JJBN: SCHWARZE-2002

Schwarze, Tracey Teets. Joyce and the Victorians. UP of Florida, 2002.

CONTENTS

Foreword by Zack Bowen

Acknowledgments

Abbreviations

Introduction: Dilemmas of Discourse

"Not a Strong Swimmer": Submersions of Dedalus

1. Colonial Pathology and the Ideology of Irishness in Victorian and Edwardian Dublin

2. "Religions of Unbelief": Spiritual Orthodoxies and RomanticDissent

Caught in the Currents: Victorian Manliness, Public Morality, and Leopold Bloom

3. "Do you call that a man?": The Discourse of Anxious Masculinity in Ulysses 

4. Urban Spectatorship, Victorian Vice, and the Discourse of Social Reform 

Fracturing the Discursive Feminine: Joyce and the "Woman Question"

5. Deconstructing the Discourse of Domesticity

6. Female Complaints: "Mad" women, Malady, and Resistance in Joyce's Dublin

7. New Women, Male Pests, and Gender in the Public Eye 

Afterword: Lost in the Labyrinth

Notes

Bibliography

Index

ABOUT THE BOOK

Joyce and the Victorians excavates the heretofore largely unexplored territory of the late Victorian and Edwardian cultural contexts of Dubliners, Portrait, Ulysses, and Finnegans Wake. Ideologies and icons suffused turn-of-the-century Ireland and, Schwarze argues, Joyce replicated contemporary behaviors, beliefs, and attitudes in his work as carefully as he re-created the pubs and landmarks of his native Dublin. Schwarze also asserts that even as they expose and manifest the social forces at work on the individual, Joyce's short stories and novels also grapple with a fundamental modernist paradox: whether modern consciousness can effectively resist the ideological force of the culture that produces it. Examining discourses on "Irishness," spiritualism, middle-class masculinity, social reform, domesticity, hysteria, and the Woman Question, Schwarze argues that Joyce's characters continually reinscribe themselves with prevailing attitudes and influences and are never fully able to overcome the powerful influence of traditional Victorian authorities and ideologies. Instead, Joyce's narratives create only the potential for such supercession. They explore the pervasive influence of ideological structures on subjectivity and illuminate the fissures contained within the social discourse itself. Schwarze does not defend Joyce as the last Victorian; she recreates the late-Victorian and Edwardian ethos that underlies Joyce's fiction and suggests that Joyce himself, much like his characters, was simultaneously bound by and critical of the ideologies of his age.

JJBN: CAMPBELL&ROBINSON-2005

Campbell, Joseph and Henry Morton Robinson. A Skeleton Key to Finnegans Wake. 1949. Edited by Edmund L. Epstain. Joseph Cambell Foundation, 2005.

CONTENTS

About the Collected Works of Joseph Campbell

Foreword and Editorial Note

To the Collected Works Edition

Acknowledgments

Foreword

Preface to the Compass Edition, 1961

Introduction to a Strange Subject

Synopsis and Demonstration

Book I: The Book of the Parents

1. Finnegan's Fall

2. HCE—His Agnomen and Reputation

3. HCE—His Trial and Incarceration

4. HCE—His Demise and Resurrection

5. The Manifesto of ALP

6. Riddles—The Personages of the Manifesto

7. Shem the Penman

8. The Washers at the Ford

Book II: The Book of the Sons

1. The Children's Hour

2. The Study Period—Triv and Quad

3. Tavernry in Feast

4. Bride-Ship and Gulls

Book III: The Book of the People

1. Shaun Before the People

2. Jaun Before St. Bride's

3. Yawn under Inquest

4. HCE and ALP—Their Bed of Trial

Book IV: RICORSO

Conclusion

Chapter Notes

A Joseph Campbell Bibliography

Index

About the Author

About the Joseph Campbell Foundation

ABOUT THE BOOK

An enlightening study of three writers, Flaubert, Joyce and Beckett: The Stoic Comedians begins with an explanation of the effect of the printing press on books. The "book as book" has been removed from the oral tradition by such features...

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An enlightening study of three writers, Flaubert, Joyce and Beckett: The Stoic Comedians begins with an explanation of the effect of the printing press on books. The "book as book" has been removed from the oral tradition by such features as prefaces, footnotes, and indexes. Books have become voiceless in some sense—they are to be read silently, not recited aloud. How this mechanical change affected the possibilities of fiction is Kenner's subject.

Each of the three featured authors approached this situation in a unique, yet connected way: Flaubert as the "Comedian of the Enlightenment," categorizing man's intellectual follies; Joyce as the "Comedian of the Inventory," with his meticulously constructed lists; and Beckett as the "Comedian of the Impasse," eliminating facts and writing novels about a man alone writing.

JJBN: STANISLAUS-JOYCE-2003

Joyce, Stanislaus. My Brother's Keeper: James Joyce's Early Years. 1969. Edited by Richard Ellmann, Da Capo P. 2003.

CONTENTS

Preface by T. S. Eliot

Introduction by Richard Ellman

Two Portraits of Stanislaus Joyce / following page

I The Soil

II The Bud

III Raw Spring

IV Ripening

V First Blossom

Index

ABOUT THE BOOK

Stanislaus Joyce was more than his brother's keeper: he was at various times his brother's co-dependent, touchstone, conscience, and biggest fan. The two shared the same genius, the same childhood influences, and had the same literary instinct, but in Stanislaus it was channeled into sober academic pursuit, while in James it evolved into gaiety, wild whimsy, and at times sodden despair. Covering the first twenty-two years of James Joyce's life in Dublin and Trieste, My Brother's Keeper is a window onto the drama that was his youth. Thanks to Stanislaus's superb memory and sure hand, here we find the Dublin of Dubliners: the streets, neighbors, churches, and unforgettable eccentrics. Here we see the model for Ulysses' Simon Dedalus: James' father, a dour and violent figure when in his cups. Here are the Joyces in their own home, and the minor characters that pepper A Portrait of the Artist: Eileen, Leopold Bloom's comely daughter; Mrs. Riordan, the surly teacher; Mr. Casey, the political agitator. And finally, here is Trieste, a place of exile for Stanislaus but a retreat for James. Stanislaus Joyce has fashioned both an invaluable primary source for his brother's opaque masterpieces and a loving memoir of his brother's early life.