Philip Kitcher
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195321029
- eISBN:
- 9780199851317
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195321029.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
James Joyce's Ulysses, once regarded as obscure and obscene, is now viewed as a masterpiece of world literature. Yet Joyce's final novel, Finnegans Wake, to which he devoted seventeen years, remains ...
More
James Joyce's Ulysses, once regarded as obscure and obscene, is now viewed as a masterpiece of world literature. Yet Joyce's final novel, Finnegans Wake, to which he devoted seventeen years, remains virtually unread. Its linguistic novelties, layered allusions, and experimental form can make it seem impenetrable. This book attempts to dissolve the darkness that surrounds the Wake and to display instead its mesmerizing play of light. The book offers an original, appealing interpretation of Joyce's novel while also suggesting an approach to the magnum opus. Focusing throughout on the book's central themes, the book proposes that Finnegans Wake has at its core an age-old philosophical question—“What makes a life worth living?”—that Joyce explores from the perspective of someone who feels that a long life is now at its end. Alert to echoes, the book progresses through the novel, adding texture to his portrait of an aging dreamer who seeks reassurance about the worth of what he has done and who he has been. The novel's complex dream language becomes meaningful when seen as a way for Joyce to investigate issues that are hard to face directly, common though they may be. At times the view is clouded, at times it's the music or sheer comedy that predominates, but one experiences in the retrospective momentum a brilliant clarity unlike anything else in literature. With a startlingly profound compassion and a distinctive brand of humanism, Joyce points us to the things that matter in our lives. His final novel, this book believes, is a call to life itself.Less
James Joyce's Ulysses, once regarded as obscure and obscene, is now viewed as a masterpiece of world literature. Yet Joyce's final novel, Finnegans Wake, to which he devoted seventeen years, remains virtually unread. Its linguistic novelties, layered allusions, and experimental form can make it seem impenetrable. This book attempts to dissolve the darkness that surrounds the Wake and to display instead its mesmerizing play of light. The book offers an original, appealing interpretation of Joyce's novel while also suggesting an approach to the magnum opus. Focusing throughout on the book's central themes, the book proposes that Finnegans Wake has at its core an age-old philosophical question—“What makes a life worth living?”—that Joyce explores from the perspective of someone who feels that a long life is now at its end. Alert to echoes, the book progresses through the novel, adding texture to his portrait of an aging dreamer who seeks reassurance about the worth of what he has done and who he has been. The novel's complex dream language becomes meaningful when seen as a way for Joyce to investigate issues that are hard to face directly, common though they may be. At times the view is clouded, at times it's the music or sheer comedy that predominates, but one experiences in the retrospective momentum a brilliant clarity unlike anything else in literature. With a startlingly profound compassion and a distinctive brand of humanism, Joyce points us to the things that matter in our lives. His final novel, this book believes, is a call to life itself.
Steven K. Green
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195399677
- eISBN:
- 9780199777150
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195399677.003.0009
- Subject:
- Religion, History of Christianity, Religion and Society
This chapter concludes the examination of the school question by tracing the secularization of the concept of nonsectarianism. It discusses the ongoing Protestant-Catholic conflict over Bible reading ...
More
This chapter concludes the examination of the school question by tracing the secularization of the concept of nonsectarianism. It discusses the ongoing Protestant-Catholic conflict over Bible reading and parochial school funding, the events surrounding the Blaine Amendment (an attempt to resolve the school question through constitutional amendment), and the subsequent decline in Bible reading in schools in the closing decades of the century. It ends with an examination of the leading Bible reading legal cases to demonstrate how judicial attitudes toward legal secularization had evolved by the end of the nineteenth century.Less
This chapter concludes the examination of the school question by tracing the secularization of the concept of nonsectarianism. It discusses the ongoing Protestant-Catholic conflict over Bible reading and parochial school funding, the events surrounding the Blaine Amendment (an attempt to resolve the school question through constitutional amendment), and the subsequent decline in Bible reading in schools in the closing decades of the century. It ends with an examination of the leading Bible reading legal cases to demonstrate how judicial attitudes toward legal secularization had evolved by the end of the nineteenth century.
Emily Greenwood
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199575244
- eISBN:
- 9780191722189
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199575244.003.0002
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The starting point for this chapter is Antonio Benítez‐Rojo's concept of the ‘path of words’ to explain the repetition of motifs in travel writers who undertake the same journeys. This repetitive ...
More
The starting point for this chapter is Antonio Benítez‐Rojo's concept of the ‘path of words’ to explain the repetition of motifs in travel writers who undertake the same journeys. This repetitive path of words is an important route for the introduction of classical motifs into modern Caribbean literature. The chapter studies the constant return to Greece in Patrick Leigh Fermor's The Traveller's Tree: A Journey through the Caribbean Islands (1950), and contrasts Fermor's neo‐Hellenic analogies with J. A. Froude's notorious Homeric analogy in The English in the West Indies, or The Bow of Ulysses (1887). One of the legacies of these travel accounts is that the Caribbean is represented as an accident of Greece, a curious ‘other’ Mediterranean. Since both Froude and Fermor's accounts appeal to Homer's Odyssey as a legitimizing text for their travel accounts, the second section explores Derek Walcott's fashioning of a New World Odyssey that writes back to Froude and Fermor, and shares tropes with other responses to The Odyssey in the Caribbean.Less
The starting point for this chapter is Antonio Benítez‐Rojo's concept of the ‘path of words’ to explain the repetition of motifs in travel writers who undertake the same journeys. This repetitive path of words is an important route for the introduction of classical motifs into modern Caribbean literature. The chapter studies the constant return to Greece in Patrick Leigh Fermor's The Traveller's Tree: A Journey through the Caribbean Islands (1950), and contrasts Fermor's neo‐Hellenic analogies with J. A. Froude's notorious Homeric analogy in The English in the West Indies, or The Bow of Ulysses (1887). One of the legacies of these travel accounts is that the Caribbean is represented as an accident of Greece, a curious ‘other’ Mediterranean. Since both Froude and Fermor's accounts appeal to Homer's Odyssey as a legitimizing text for their travel accounts, the second section explores Derek Walcott's fashioning of a New World Odyssey that writes back to Froude and Fermor, and shares tropes with other responses to The Odyssey in the Caribbean.
David Kurnick
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691151519
- eISBN:
- 9781400840090
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691151519.003.0005
- Subject:
- Literature, Criticism/Theory
This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet ...
More
This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet drama of the Nighttown (or “Circe”) episode of Ulysses. Joyce's experiments with theatrical form constitute a running commentary on his interest in the “depths” of the psyche. The different conceptions of theatrical space embedded in the idea of epiphany lend a dual valence to this keystone of Joycean aesthetics. If, on the one hand, epiphany imagines a humiliating theater of psychic exposure, on the other it gestures toward a perverse collective space where such exposures would lose their policing force. These isolating and collectivist impulses are both visible in Joyce's play Exiles, which follows Ibsenesque naturalism in its representation of psychic motivation but allows its characters to mount a notable collective resistance to the diagnostic imperative structuring their stage existence.Less
This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet drama of the Nighttown (or “Circe”) episode of Ulysses. Joyce's experiments with theatrical form constitute a running commentary on his interest in the “depths” of the psyche. The different conceptions of theatrical space embedded in the idea of epiphany lend a dual valence to this keystone of Joycean aesthetics. If, on the one hand, epiphany imagines a humiliating theater of psychic exposure, on the other it gestures toward a perverse collective space where such exposures would lose their policing force. These isolating and collectivist impulses are both visible in Joyce's play Exiles, which follows Ibsenesque naturalism in its representation of psychic motivation but allows its characters to mount a notable collective resistance to the diagnostic imperative structuring their stage existence.
David Quint
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691161914
- eISBN:
- 9781400850488
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161914.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter focuses on book 2 of Paradise Lost. In book 2, Milton continues the story of the demilitarization of the fallen angels and of his epic more generally when he bases all of its action ...
More
This chapter focuses on book 2 of Paradise Lost. In book 2, Milton continues the story of the demilitarization of the fallen angels and of his epic more generally when he bases all of its action around the figure of Ulysses, the hero of eloquence and fraud, whose own epic comes in the aftermath of the Trojan War. The chapter demonstrates that the Odyssey, imitated and parodied in Satan's voyage through Chaos to God's newly created universe in the book's last section, is just one of the classical stories about the career of Ulysses that Milton evokes as models for its different episodes. The various parts of book 2 are held together by this pattern of allusion, as well as by the Odyssean figures of Scylla and Charybdis, the emblem of bad choices, or of loss of choice itself.Less
This chapter focuses on book 2 of Paradise Lost. In book 2, Milton continues the story of the demilitarization of the fallen angels and of his epic more generally when he bases all of its action around the figure of Ulysses, the hero of eloquence and fraud, whose own epic comes in the aftermath of the Trojan War. The chapter demonstrates that the Odyssey, imitated and parodied in Satan's voyage through Chaos to God's newly created universe in the book's last section, is just one of the classical stories about the career of Ulysses that Milton evokes as models for its different episodes. The various parts of book 2 are held together by this pattern of allusion, as well as by the Odyssean figures of Scylla and Charybdis, the emblem of bad choices, or of loss of choice itself.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0008
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter develops the earlier discussions of life‐writings by fictional narrators to consider sustained acts of creative impersonation: works entirely (or almost entirely) presented as written by ...
More
This chapter develops the earlier discussions of life‐writings by fictional narrators to consider sustained acts of creative impersonation: works entirely (or almost entirely) presented as written by imaginary authors. It discusses Fernando Pessoa's practice of heteronymity. In this context a surprising reading of Joyce's Portrait is proposed, building on the presence in the work of Stephen Dedalus' writings (poem, journal etc.), to suggest that the entire book might be read as not just a case of free indirect style, with Joyce rendering Stephen's consciousness, but as possibly Joyce's impersonation of the autobiographical book Stephen might have written. Italo Svevo's Confessions of Zeno is proposed as a comparable example of a fictionally authored self‐portrait.Less
This chapter develops the earlier discussions of life‐writings by fictional narrators to consider sustained acts of creative impersonation: works entirely (or almost entirely) presented as written by imaginary authors. It discusses Fernando Pessoa's practice of heteronymity. In this context a surprising reading of Joyce's Portrait is proposed, building on the presence in the work of Stephen Dedalus' writings (poem, journal etc.), to suggest that the entire book might be read as not just a case of free indirect style, with Joyce rendering Stephen's consciousness, but as possibly Joyce's impersonation of the autobiographical book Stephen might have written. Italo Svevo's Confessions of Zeno is proposed as a comparable example of a fictionally authored self‐portrait.
Elizabeth Outka
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195372694
- eISBN:
- 9780199871704
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372694.003.0006
- Subject:
- Literature, 20th-century and Contemporary Literature
The conclusion argues that the history and development of the commodified authentic are key to understanding later works of high modernism, as well as our contemporary moment, with its strangely ...
More
The conclusion argues that the history and development of the commodified authentic are key to understanding later works of high modernism, as well as our contemporary moment, with its strangely hybridized blend of nostalgia and modernity. The chapter investigates how the commodified authentic became a critical modernist tool, analyzing key moments concerning advertising, authenticity, and shopping in works by D. H. Lawrence (Women in Love), James Joyce (Ulysses), and Virginia Woolf (To the Lighthouse). The chapter concludes by exploring how the commodified authentic remains a powerful marketing technique and cultural strategy.Less
The conclusion argues that the history and development of the commodified authentic are key to understanding later works of high modernism, as well as our contemporary moment, with its strangely hybridized blend of nostalgia and modernity. The chapter investigates how the commodified authentic became a critical modernist tool, analyzing key moments concerning advertising, authenticity, and shopping in works by D. H. Lawrence (Women in Love), James Joyce (Ulysses), and Virginia Woolf (To the Lighthouse). The chapter concludes by exploring how the commodified authentic remains a powerful marketing technique and cultural strategy.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This introduction argues that Alfred Tennyson’s conception of “rapt oration” is critical to the understanding of a quartet of his major dramatic monologues, “St. Simeon Stylites,” “Ulysses,” ...
More
This introduction argues that Alfred Tennyson’s conception of “rapt oration” is critical to the understanding of a quartet of his major dramatic monologues, “St. Simeon Stylites,” “Ulysses,” “Tithonus,” and “Tiresias,” all drafted after the death in 1833 of his friend, Arthur Henry Hallam, though published over the course of the ensuing half-century. An examination of a variety of Tennyson’s works, in particular In Memoriam, establishes “rapt oration” as a state in which both speaker and listener are “transported” by the speaker’s oratorical prowess. A desire for rapture, characterized by both personal and political transformation, motivates the speech and actions of each of Tennyson’s speakers in these dramatic monologues. This introduction additionally argues that these dramatic monologues should be considered in the context of nineteenth-century rapture theology, reform politics, classical scholarship (in particular theories on Homer), and sexological theory, as well as in the context of Tennyson’s relationships with a range of contemporaries, including Thomas Carlyle, William Gladstone, John Stuart Mill, and Heinrich Schliemann.Less
This introduction argues that Alfred Tennyson’s conception of “rapt oration” is critical to the understanding of a quartet of his major dramatic monologues, “St. Simeon Stylites,” “Ulysses,” “Tithonus,” and “Tiresias,” all drafted after the death in 1833 of his friend, Arthur Henry Hallam, though published over the course of the ensuing half-century. An examination of a variety of Tennyson’s works, in particular In Memoriam, establishes “rapt oration” as a state in which both speaker and listener are “transported” by the speaker’s oratorical prowess. A desire for rapture, characterized by both personal and political transformation, motivates the speech and actions of each of Tennyson’s speakers in these dramatic monologues. This introduction additionally argues that these dramatic monologues should be considered in the context of nineteenth-century rapture theology, reform politics, classical scholarship (in particular theories on Homer), and sexological theory, as well as in the context of Tennyson’s relationships with a range of contemporaries, including Thomas Carlyle, William Gladstone, John Stuart Mill, and Heinrich Schliemann.
Cornelia Pearsall
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195150544
- eISBN:
- 9780199871124
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195150544.003.0005
- Subject:
- Literature, 19th-century and Victorian Literature
Chapter Four engages in a detailed reading of Tennyson’s “Ulysses,” described as the prototypical Victorian dramatic monologue. The first section, “The Character of the Homeric Statesman,” ...
More
Chapter Four engages in a detailed reading of Tennyson’s “Ulysses,” described as the prototypical Victorian dramatic monologue. The first section, “The Character of the Homeric Statesman,” establishes the monologue’s persistent stress on the importance of the knowledge of Tennyson’s Ulysses, examining the poem’s many sources, and a youthful epistolary debate between William Gladstone and Arthur Henry Hallam on Ulysses’ responsibility for the ruin of Troy. The second section, “Ulysses and the Rapture of Troy,” explores the political implications of the character of Ulysses, suggesting that his powerful resonance with his immediate audience within the monologue, as well as with the wider British public, is due to the illusion of a democratic ideal of equality conjured by his monologue. Ulysses’ desire is to effect a “rapture” of his audience, just as he formerly effected the “rapture” of Troy, illuminating the destruction of the fabled city as the monologue’s subtext.Less
Chapter Four engages in a detailed reading of Tennyson’s “Ulysses,” described as the prototypical Victorian dramatic monologue. The first section, “The Character of the Homeric Statesman,” establishes the monologue’s persistent stress on the importance of the knowledge of Tennyson’s Ulysses, examining the poem’s many sources, and a youthful epistolary debate between William Gladstone and Arthur Henry Hallam on Ulysses’ responsibility for the ruin of Troy. The second section, “Ulysses and the Rapture of Troy,” explores the political implications of the character of Ulysses, suggesting that his powerful resonance with his immediate audience within the monologue, as well as with the wider British public, is due to the illusion of a democratic ideal of equality conjured by his monologue. Ulysses’ desire is to effect a “rapture” of his audience, just as he formerly effected the “rapture” of Troy, illuminating the destruction of the fabled city as the monologue’s subtext.
Michael Patrick Gillespie (ed.)
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813035291
- eISBN:
- 9780813038483
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813035291.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book presents, in a single collection, chapters in the study of James Joyce. Representing important contributions to scholarship that have helped shape current methods of approaching Joyce's ...
More
This book presents, in a single collection, chapters in the study of James Joyce. Representing important contributions to scholarship that have helped shape current methods of approaching Joyce's works, the volume reacquaints contemporary readers with the literature that forms the basis of ongoing scholarly inquiries in the field. Offering three chapters each on Joyce's four main works (Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake), the book provides a contextual general introduction, as well as short introductions to each section that describe the chapters that follow and their original contribution to the field.Less
This book presents, in a single collection, chapters in the study of James Joyce. Representing important contributions to scholarship that have helped shape current methods of approaching Joyce's works, the volume reacquaints contemporary readers with the literature that forms the basis of ongoing scholarly inquiries in the field. Offering three chapters each on Joyce's four main works (Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake), the book provides a contextual general introduction, as well as short introductions to each section that describe the chapters that follow and their original contribution to the field.
Williamson Murray
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199608638
- eISBN:
- 9780191731754
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199608638.003.0010
- Subject:
- Political Science, International Relations and Politics
Chapter 9 focuses on the relationship between the evolving grand strategy and military strategy in the American Civil War (1861–5). Williamson Murray emphasizes the symbiotic relationship between ...
More
Chapter 9 focuses on the relationship between the evolving grand strategy and military strategy in the American Civil War (1861–5). Williamson Murray emphasizes the symbiotic relationship between Abraham Lincoln's grand strategy—aimed at the preservation of the Union with its form of government—and Ulysses S. Grant's ability to execute the military expression of that strategy through effective generalship, selection of capable subordinates, and decisive combat. Murray argues that two main factors explain why it took the North four years to defeat the Southern states. First, the vast size of the theatre of operations posed great logistical challenges. Second, enormous popular enthusiasm for their respective causes led both sides to insist on holding out to the bitter end, despite huge casualties and suffering. Ultimately, Lincoln's grand strategy succeeded because the verdict that ‘the United States is a country’, singular rather than plural, was never seriously challenged again.Less
Chapter 9 focuses on the relationship between the evolving grand strategy and military strategy in the American Civil War (1861–5). Williamson Murray emphasizes the symbiotic relationship between Abraham Lincoln's grand strategy—aimed at the preservation of the Union with its form of government—and Ulysses S. Grant's ability to execute the military expression of that strategy through effective generalship, selection of capable subordinates, and decisive combat. Murray argues that two main factors explain why it took the North four years to defeat the Southern states. First, the vast size of the theatre of operations posed great logistical challenges. Second, enormous popular enthusiasm for their respective causes led both sides to insist on holding out to the bitter end, despite huge casualties and suffering. Ultimately, Lincoln's grand strategy succeeded because the verdict that ‘the United States is a country’, singular rather than plural, was never seriously challenged again.
Quentin R. Walsh
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034799
- eISBN:
- 9780813039688
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034799.003.0005
- Subject:
- History, History of Science, Technology, and Medicine
The general arrangement of the Ulysses was typical of any modern pelagic whaling factory. Their level of production, which also partly determined how personnel were paid, classed the ships. Modern ...
More
The general arrangement of the Ulysses was typical of any modern pelagic whaling factory. Their level of production, which also partly determined how personnel were paid, classed the ships. Modern pelagic factory ships were generally divided into five classes according to their capacity to produce a certain amount of oil. The classification was determined and agreed upon by the owners of the ships and the Norwegian whaling unions. The classification of the factories was supposed to be as theoretically correct as it could possibly be, but this often did not work out in practice. Some of those divergences were so extensive that factors other than oil production were needed to be observed by the unions and the owners when the designation of a factory ship was considered.Less
The general arrangement of the Ulysses was typical of any modern pelagic whaling factory. Their level of production, which also partly determined how personnel were paid, classed the ships. Modern pelagic factory ships were generally divided into five classes according to their capacity to produce a certain amount of oil. The classification was determined and agreed upon by the owners of the ships and the Norwegian whaling unions. The classification of the factories was supposed to be as theoretically correct as it could possibly be, but this often did not work out in practice. Some of those divergences were so extensive that factors other than oil production were needed to be observed by the unions and the owners when the designation of a factory ship was considered.
Vike Martina Plock
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034232
- eISBN:
- 9780813038803
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034232.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
James Joyce apparently had ample reason to see analogies between the progress of his health and his avant-garde novel. Both troubled him exceedingly in the years from 1917 to 1922. However, Joyce's ...
More
James Joyce apparently had ample reason to see analogies between the progress of his health and his avant-garde novel. Both troubled him exceedingly in the years from 1917 to 1922. However, Joyce's statement also hints at another parallel between Ulysses and his physical condition. Joyce suggests that both his ocular troubles and his book are “complicated” and therefore elude analytical or diagnostic certainty. This book is an attempt to do a bit of diagnosing. Its focus is on Joyce's obsession with health, debility, and medicine — topics and subjects that crop up everywhere in his writing. Hence, while Joyce's physical body repeatedly made the acquaintance of the doctor's surgical knife and the question of his health remained “in the doctor's hands,” the book dissects, analyzes, and examines Joyce's textual corpus in search for medical references and intertexts. However, it is an exploration of Joyce's aesthetics as well as a sociohistorical analysis.Less
James Joyce apparently had ample reason to see analogies between the progress of his health and his avant-garde novel. Both troubled him exceedingly in the years from 1917 to 1922. However, Joyce's statement also hints at another parallel between Ulysses and his physical condition. Joyce suggests that both his ocular troubles and his book are “complicated” and therefore elude analytical or diagnostic certainty. This book is an attempt to do a bit of diagnosing. Its focus is on Joyce's obsession with health, debility, and medicine — topics and subjects that crop up everywhere in his writing. Hence, while Joyce's physical body repeatedly made the acquaintance of the doctor's surgical knife and the question of his health remained “in the doctor's hands,” the book dissects, analyzes, and examines Joyce's textual corpus in search for medical references and intertexts. However, it is an exploration of Joyce's aesthetics as well as a sociohistorical analysis.
Jon Hegglund
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199796106
- eISBN:
- 9780199932771
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199796106.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism, World Literature
This chapter examines Joyce's Ulysses, as an object generated out of imperial cartographies of the internal colony of Ireland. It begins with a critical examination of the nineteenth-century Ordnance ...
More
This chapter examines Joyce's Ulysses, as an object generated out of imperial cartographies of the internal colony of Ireland. It begins with a critical examination of the nineteenth-century Ordnance Survey of Ireland undertaken by the British military, the first comprehensive cartographic survey of a colonial territory. Moving to Joyce's novel, the chapter shows how Ulysses uses the imperial map of a bounded, objectified colony to emphasize the tensions between the map as a tool of imperial possession and the map as a canvas for the creation of an emergent communal identity. Ultimately, Joyce creates a world that is anti-topographical, subverting the mimeticism of the novel's early chapters with a formalism that denies the possibility of his novel having any kind of stable spatial ground. Such anti-representational formalism extends to the political vision of the novel, which is not necessary nationalist (as some recent critics have argued) but radically anti-national in its suspicion of any static spatial representation of culture.Less
This chapter examines Joyce's Ulysses, as an object generated out of imperial cartographies of the internal colony of Ireland. It begins with a critical examination of the nineteenth-century Ordnance Survey of Ireland undertaken by the British military, the first comprehensive cartographic survey of a colonial territory. Moving to Joyce's novel, the chapter shows how Ulysses uses the imperial map of a bounded, objectified colony to emphasize the tensions between the map as a tool of imperial possession and the map as a canvas for the creation of an emergent communal identity. Ultimately, Joyce creates a world that is anti-topographical, subverting the mimeticism of the novel's early chapters with a formalism that denies the possibility of his novel having any kind of stable spatial ground. Such anti-representational formalism extends to the political vision of the novel, which is not necessary nationalist (as some recent critics have argued) but radically anti-national in its suspicion of any static spatial representation of culture.
Charles R. Geisst
- Published in print:
- 1999
- Published Online:
- November 2003
- ISBN:
- 9780195130867
- eISBN:
- 9780199871155
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195130863.003.0003
- Subject:
- Economics and Finance, Economic History, Financial Economics
Railroad financing through the Civil War, 1840–70. The attraction of railroads as the first major infrastructure investment; scandals involving financiers; major panic following dissolution of Bank ...
More
Railroad financing through the Civil War, 1840–70. The attraction of railroads as the first major infrastructure investment; scandals involving financiers; major panic following dissolution of Bank of the U.S.; development of early investment banks; scandals during Civil War including those surrounding U. S. Grant, Jay Gould, and NYSE; raising bonds during Civil War.Less
Railroad financing through the Civil War, 1840–70. The attraction of railroads as the first major infrastructure investment; scandals involving financiers; major panic following dissolution of Bank of the U.S.; development of early investment banks; scandals during Civil War including those surrounding U. S. Grant, Jay Gould, and NYSE; raising bonds during Civil War.
Patrick R. Mullen
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199746699
- eISBN:
- 9780199950270
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199746699.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism, Film, Media, and Cultural Studies
This chapter examines Joyce’s inscription of Roger Casement in the “Cyclops” episode of Ulysses. In particular, it argues that Joyce figures through Casement both a complex critique of British ...
More
This chapter examines Joyce’s inscription of Roger Casement in the “Cyclops” episode of Ulysses. In particular, it argues that Joyce figures through Casement both a complex critique of British imperialism that avoids the pitfalls of reactionary nationalism and a progressive model of national affiliation and belonging. The chapter suggests that Casement’s homoerotic writings and his “Speech from the Dock” are important, if oblique, references for Joyce, who glimpses in them a progressive worldview.Less
This chapter examines Joyce’s inscription of Roger Casement in the “Cyclops” episode of Ulysses. In particular, it argues that Joyce figures through Casement both a complex critique of British imperialism that avoids the pitfalls of reactionary nationalism and a progressive model of national affiliation and belonging. The chapter suggests that Casement’s homoerotic writings and his “Speech from the Dock” are important, if oblique, references for Joyce, who glimpses in them a progressive worldview.
Matthew Bevis
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199253999
- eISBN:
- 9780191719790
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199253999.003.0005
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter focuses on Joyce and ‘the Irish question’. The aims of Irish eloquence were recurring features of political debate, partly as a result of the Act of Union that saw Irish politicians ...
More
This chapter focuses on Joyce and ‘the Irish question’. The aims of Irish eloquence were recurring features of political debate, partly as a result of the Act of Union that saw Irish politicians enter Westminster in 1801. Born in year that clôture was implemented (1882), Joyce is the last writer who had persistent recourse to the styles of Victorian oratory in his work. Indeed, the closure was itself instituted to combat Irish obstructionism in the Commons, and the loquacious tactics had a key part to play in the erosion of parliamentary autonomy at the end of the century. The chapter considers Joyce's early work and ends with a sustained focus on Ulysses (1922), thinking through the implications of the writer's choice to structure his masterpiece around the figure of the most renowned orator in the classical literary tradition.Less
This chapter focuses on Joyce and ‘the Irish question’. The aims of Irish eloquence were recurring features of political debate, partly as a result of the Act of Union that saw Irish politicians enter Westminster in 1801. Born in year that clôture was implemented (1882), Joyce is the last writer who had persistent recourse to the styles of Victorian oratory in his work. Indeed, the closure was itself instituted to combat Irish obstructionism in the Commons, and the loquacious tactics had a key part to play in the erosion of parliamentary autonomy at the end of the century. The chapter considers Joyce's early work and ends with a sustained focus on Ulysses (1922), thinking through the implications of the writer's choice to structure his masterpiece around the figure of the most renowned orator in the classical literary tradition.
Ritchie Robertson
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199571581
- eISBN:
- 9780191722356
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199571581.003.0013
- Subject:
- Literature, European Literature, 18th-century Literature
As literary genres are normally in flux and transformation, we should not expect to find mock epic surviving unchanged, but we do find elements of it in two myth‐based works of the early twentieth ...
More
As literary genres are normally in flux and transformation, we should not expect to find mock epic surviving unchanged, but we do find elements of it in two myth‐based works of the early twentieth century: Carl Spitteler's Olympischer Frühling, which gained him the Nobel Prize, and Joyce's Ulysses. An attempt is made to clarify the often confused meaning of ‘myth’ in discussion of modernism, and it is suggested that often this is better understood as intertextual allusion, as in mock epic.Less
As literary genres are normally in flux and transformation, we should not expect to find mock epic surviving unchanged, but we do find elements of it in two myth‐based works of the early twentieth century: Carl Spitteler's Olympischer Frühling, which gained him the Nobel Prize, and Joyce's Ulysses. An attempt is made to clarify the often confused meaning of ‘myth’ in discussion of modernism, and it is suggested that often this is better understood as intertextual allusion, as in mock epic.
Sean Latham
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195379990
- eISBN:
- 9780199869053
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195379990.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter explores the way James Joyce and Wyndham Lewis negotiated the legal consequences of their narrative experiments with libel and defamation in key romans à clef like Ulysses and The Apes ...
More
This chapter explores the way James Joyce and Wyndham Lewis negotiated the legal consequences of their narrative experiments with libel and defamation in key romans à clef like Ulysses and The Apes of God. Both drew heavily on their own lives—as well as those of nearly everyone they knew—to launch a deliberate critique of the moral, aesthetic, and legal divide between fact and fiction. This forms, in fact, a fundamental aspect of their high modernist aesthetics. The interpenetration of world and text in their major works, however, also led both men into often grave legal trouble, putting their books in limbo and, in Lewis’s case, leading to a seemingly endless string of crippling lawsuits. Far from purely extraliterary events, these legal entanglements are instead an organizing component of the works themselves: the core element of a largely forgotten modernism structured around social, aesthetic, and legal contests between fiction and reality. Forged and circulated in this complex field of force, this chapter examines the ways these experimental texts not only exploit the ambiguities of libel law but are themselves inevitably constrained by its potent ability to adjudicate fact and thereby define the limits of fiction.Less
This chapter explores the way James Joyce and Wyndham Lewis negotiated the legal consequences of their narrative experiments with libel and defamation in key romans à clef like Ulysses and The Apes of God. Both drew heavily on their own lives—as well as those of nearly everyone they knew—to launch a deliberate critique of the moral, aesthetic, and legal divide between fact and fiction. This forms, in fact, a fundamental aspect of their high modernist aesthetics. The interpenetration of world and text in their major works, however, also led both men into often grave legal trouble, putting their books in limbo and, in Lewis’s case, leading to a seemingly endless string of crippling lawsuits. Far from purely extraliterary events, these legal entanglements are instead an organizing component of the works themselves: the core element of a largely forgotten modernism structured around social, aesthetic, and legal contests between fiction and reality. Forged and circulated in this complex field of force, this chapter examines the ways these experimental texts not only exploit the ambiguities of libel law but are themselves inevitably constrained by its potent ability to adjudicate fact and thereby define the limits of fiction.
Philip Kitcher
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195321029
- eISBN:
- 9780199851317
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195321029.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
James Joyce described his book in many ways, including some of what we can reasonably take to be his favorite characterizations within the book itself. One that occurs relatively late suggests that ...
More
James Joyce described his book in many ways, including some of what we can reasonably take to be his favorite characterizations within the book itself. One that occurs relatively late suggests that it is a gift, a “beautiful crossmess parzel”. Overtly hostile readers might focus on the “mess”, but a more benign reaction would take Joyce simply to have set a gigantic puzzle, a lifetime's worth of the most ingenious, taxing, and witty cryptic crosswords. There is an obvious way to think of the Wake that gives it more credit. By solving these individual puzzles, a large mosaic within which significant patterns and insights emerge. However, this chapter argues that until one has some general conception of how the book was to be conceived, there is little hope that individual passages can be puzzled out in ways that allow for integration.Less
James Joyce described his book in many ways, including some of what we can reasonably take to be his favorite characterizations within the book itself. One that occurs relatively late suggests that it is a gift, a “beautiful crossmess parzel”. Overtly hostile readers might focus on the “mess”, but a more benign reaction would take Joyce simply to have set a gigantic puzzle, a lifetime's worth of the most ingenious, taxing, and witty cryptic crosswords. There is an obvious way to think of the Wake that gives it more credit. By solving these individual puzzles, a large mosaic within which significant patterns and insights emerge. However, this chapter argues that until one has some general conception of how the book was to be conceived, there is little hope that individual passages can be puzzled out in ways that allow for integration.
