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1989, Critical Quarterly
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3 pages
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AI-generated Abstract
This analysis reflects on the significance of James Joyce's "Finnegans Wake", published in 1939, highlighting its revolutionary linguistic style and contextualizing its reception amidst the English literary establishment. The work is examined not only as a literary artifact but also as a commentary on Ireland's sociopolitical landscape, particularly in relation to imperialism and nationalism. It argues that Joyce's challenging form symbolizes a struggle against the constraints of his time, while also positing that the book embodies a failed revolutionary potential that could have redefined Ireland's cultural alignment with Europe.
Franca Ruggieri, ed., Memorial I would have. Per Giorgio Melchiori, un anno dopo (Roma, Edizioni Q, 2010), pp.133-140., 2010
2015
What would it mean to consider James Joyce seriously as a poet? How do we evaluate Joyce's actual poetic production? And what relation does his poetry bear to his achievements in narrative? It has been over 100 years since scholarly assessments of Joyce's poetry began, with Arthur Symons's 1907 review of Chamber Music in the Nation. Yet the critical commentary on Joyce's poetry, and on Joyce's status as a poet, remains remarkably thin. The long-standing view of James Joyce as a poet is well expressed by Harry Levin in his 1941 James Joyce: A Critical Introduction, where he states: "Joyce at best is a merely competent poet, moving within an extremely limited range. The poetic medium, narrowly conceived, offers him too little resistance. It offers him a series of solfeggio exercises in preparation for his serious work. His real contribution is to bring the fuller resources of poetry to fiction" (27). This view, echoed throughout the canon of Joyce scholarship, carries two implications: that Joyce is essentially a failed, or at best limited, poet and that his poetry served as mere prolegomena to his great fiction, where his poetic gifts allow him to produce a kind of poetic achievement. Certainly Joyce's reputation rests on his great works in short fiction (Dubliners), novel (A Portrait of the Artist as a Young Man), modern epic (Ulysses), and "vastest encyclopedia" (JJII 4) (the Wake). As a result, his formal poetic work-Chamber Music, the thirteen lyrics that make up Pomes Penyeach, and a collection of satiric and personal poems-has received scant scholarly attention, and there has been little effort to examine how this work might relate to Joyce's longer and more famous achievements.
1992
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James Joyce Quarterly, 2014
2020
In the introduction T. S. Eliot wrote for the catalogue accompanying the 1949 James Joyce exhibition in Paris he underscored the importance of reading Joyce's works as a whole: Joyce's writings form a whole; we can neither reject the early work as stages, of no intrinsic interest, of his progress towards the latter, nor reject the later work as the outcome of decline. As with Shakespeare, his later work must be understood through the earlier, and the first through the last; it is the whole journey, not any stage of it, that assures him his place among the great. 2 Eliot also wondered how anyone could write again 'after achieving the immense prodigy of the last chapter' of Ulysses (JJ 528). 3 However, in late October, following the 1922 February publication of Ulysses, Joyce commenced with making notes in what is now known as VI.B.10 (Slote 2007: 5). Danis Rose and John O'Hanlon deduce in 'A Nice Beginning: On the Ulysses / Finnegans Wake Interface' that 'Ulysses was finally abandoned and Work in Progress first undertaken on or about the 31 st October, 1922, when Joyce abruptly ended his correcting of the former and began collecting notes for the latter' (1990: 165). Joyce's Finnegans Wake morphed into an intertextual cornucopia during the following seventeen years of its composition, a period which saw many pre-book publications of what was known as 'Work in Progress' in print before the 1939 publication of Finnegans Wake (Van Hulle 2016). 4 The book and the pre-book publications were engineered by Joyce's writing mind 1 This research was made possible thanks to my PhD position aboard the TOP-BOF project entitled 'Literature and the Extended Mind: A Reassessment of Modernism', led by Dirk Van Hulle at the Centre for Manuscript Genetics, University of Antwerp. I would like to dedicate this article to Geert Lernout, Dirk Van Hulle and Ronan Crowley: thank you for teaching me the tricks of the Joyce trade. 2 Eliot's introduction featured in James Joyce: sa vie, son oeuvre, son rayonnement, which was published in 1949 and edited by B. Gheerbrant and F. Faucheux. 3 Eliot qtd. by Richard Ellmann from Virginia Woolf's A Writer's Diary [1953] 1975: 363. 4 In his first appendix to James Joyce's 'Work in Progress', Van Hulle arranges the pre-book publications according to 'the chronology and material aspect' and according to 'the place in the narrative sequence' (2016: 211-215).
2001
and the politics of egoism / Jean-Michel Rabaté. p. cm. Includes bibliographical references (p.) and index. - (pbk.) . Joyce, James, --Political and social views. . Politics and literature-Ireland-History-th century. . Joyce, James, --Views on egoism. 4. Difference (Psychology) in literature. . Joyce, James, --Ethics. . Modernism (Literature)-Ireland. . Hospitality in literature. . Egoism in literature. . Self in literature. . Title. . Ј.-dc hardback paperback Contents Preface page vii List of abbreviations ix Après mot, le déluge: the ego as symptom The ego, the nation, and degeneration Joyce the egoist The esthetic paradoxes of egoism: from negoism to the theoretic Theory's slice of life The egoist vs. the king The conquest of Paris Joyce's transitional revolution Hospitality and sodomy Hospitality in the capital city Joyce's late Modernism and the birth of the genetic reader Stewardship, Parnellism, and egotism Notes Bibliography Index v Après mot, le déluge: the ego as symptom On July , , the editorial board of the Modern Library, a division of Random House-a jury made up of ten writers, critics and editors, among whom were A. S. Byatt, William Styron, Gore Vidal, Shelby Foote and Christopher Cerf-revealed to the public the list they had drawn up of the hundred best novels of the twentieth century. Joyceans from all over the word could rejoice: Ulysses came up first, soon followed by A Portrait of the Artist as a Young Man in the third position. More unexpected but quite as heartening for fans was the fact that Finnegans Wake had found its way into the list as number seventy-seven. No doubt Joyce would have loved the elegant numerological progression: --. As a new century begins, perhaps the time has come for another assessment: will Joyce's stature still tower above the English-speaking world in the twenty-first century, or was this critical acclaim just a way of leaving behind us an embarrassing literary monument? In , moreover, the backlash was immediate, the ten jury members were denounced as elitist and sexist by disgruntled cavilers. Had they been twelve, they might have been identified with the apostles of a new Joycean creed-as the famous collective study Our Exagmination Round His Factification For Incamination of Work in Progress launched the ironical concept as early as , just before the world economy collapsed and Joyce's personal life became fraught with difficulties. Readers of the American press, for the majority of whom the best novel of the twentieth century would obviously not be Ulysses but The Great Gatsby, perhaps The Fountainhead if not Atlas Shrugged (I have not referred to Ayn Rand at random, as will become clear in the second part of this chapter), had been prepared for Joyce's triumph by the issue of Time magazine date June , . There, under the general heading of "Hundred Artists and Entertainers of the Century" one observed the figure of Joyce looming large among "geniuses" like Pablo Picasso, Charlie Chaplin, Igor Stravinsky, Bob Dylan, and Elvis Presley. In this issue, Joyce was the only novelist to whom four pages of text and several photographs were devoted. The presentation by Paul Gray 1 wryly concluded on the obscurity of the Wake: "Today, only dedicated Joyceans regularly attend the Wake. A century from now, his readers may catch up with him." This echoed, consciously or not, the famous opening of Richard Ellmann's biography, that was to enshrine Joyce's life for so long: "We are still learning to be James Joyce's contemporaries." (JJII, )-while confirming the hope expressed by its author that Finnegans Wake was in advance of its times. When he had to defend the seeming madness of his project, Joyce defiantly stated: "Perhaps it is insanity. One will be able to judge in a century" (JJII, ). The current tendency, however, would be to consider Finnegans Wake less sub specie aeternitatis than as a product of its own times, to see it as a book that is typical of the thirties, of a moment when experimental writing in an international and multilinguistic context could appear as the only logical outcome of Modernism. Before the term Post-Modernism had even been invented, most Modernist writers felt caught up in a sweeping movement that led to a rejection of parochialism and pushed to a generalized "Revolution of the Word." Like most revolutions of this century, this too would fail-or at least be met with incomprehension from the audience, while attracting cult-like followers enamored with obscurity itself. Work in Progress, in spite of the numerous allusions to contemporary events scattered by Joyce in his literary maze until the completion of the book in the late , has still today the reputation of being isolated from politics, ethics, and broader cultural concerns that ought to dominate in dark times of war, crisis, and dire survival. This has been triggered by the undeniable difficulty of deciphering the topical echoes and allusions in the obscurely punning polyglottic prose of Finnegans Wake. Was this a writer's blindness which could be blamed on the spirit of the times, or should one recall Joyce's gnawing awareness that he had to publish his last novel before another world war started, otherwise it would simply disappear? I would like to suggest here that Joyce's ultimate literary gamble, a gamble that might have to be left to this century's close to be assessed fully, has to do with a collective utopia blending language and politics, a radical utopia with avant-gardist and anarchistic overtones shared by the transition group led by Eugène Jolas. This is why I have chosen as an epigraph for this first chapter a limerick written in honor of transition's editor, a homage to the publication of Jolas's polyglottic poems James Joyce and the politics of egoism entitled Mots Déluge. In "Versailles ," Joyce also puns on his own name that he uses as a verb: So the jeunes joy with Jolas Book your berths: Après mot, le déluge!
Choice Reviews Online
Coping with Joyce brings together eighteen scholars who contributed to making the 1986 International Joyce Symposium a land mark in Joycean studies. Their diverse ap proaches to the intricate Joyce corpus, from Dubliners and Exiles to Ulysses and Fin negans Wake, reflect the important changes that have taken place in the scholarly world during recent years, as traditional and posttraditional theorists and critics have found in James Joyce a major area of investigation and interpretation. Five major addresses of fer a litany of perspectives: historical, bio graphical, cultural, thematic, linguistic, textual, and sexual. These perspectives are further developed in the subsequent critical studies. Coping with Joyce provides a cross-section of the latest in James Joyce studies, the most recent views of several well-established Joyce scholars and the work of some newer critics in the field.
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