James Joyce and the Nineteenth-Century French Novel (original) (raw)
Related papers
‘Gnomonic Structures: Flaubert’s Trois Contes and Joyce’s Dubliners’
Papers on Joyce, 2007
This essay carries out an intertextual reading of both authors’ short stories to reveal the extent of Joyce’s engagement with Flaubert from the earliest days of his writing career. Joyce’s response to Flaubert in Dubliners can be traced directly to the linguistic, thematic, and structural details of Flaubert’s short stories. The most important of these echoes, and the focus of this essay, concerns the extremely rare word ‘gnomon’, which appears in the first paragraph of Joyce’s opening story, “The Sisters.” This term has never before been related to its appearance in the last of Flaubert’s short stories, “Hérodias.” This essay will argue that Joyce’s use of the word constitutes a self-conscious signpost to his subtle but extensive response to Flaubert in Dubliners.
James Joyce in the Nineteenth Century
2013
Th is collection shows the depth and range of James Joyce's relationship with key literary, intellectual and cultural issues that arose in the nineteenth century. Th irteen original essays explore several new themes in Joyce studies, connecting Joyce's writing to that of his predecessors and linking Joyce's formal innovations to his reading of, and immersion in, nineteenth-century life. Th e volume begins by addressing Joyce's relationships with fi ctional forms and cultural debates in nineteenth-century and turn-of-the-century Ireland. Further sections explore the rise of new economies of consumption and Joyce's formal adaptations of major intellectual fi gures and issues. What emerges is a portrait of Joyce as he has not previously been seen, giving scholars and students of fi n-de-si è cle culture, literary modernism and English and Irish literature fresh insight into one of the most important writers of the past century.
JOYCE’S OTHERS / THE OTHERS AND JOYCE (Joyce Studies in Italy 22), 2020
This essay will research what I shall call “James Joyce” literature, which is a specific type of speculative fiction. To qualify as such a work, James Joyce must function as a character within the text and the story must be told within some kind of alternate history. This can be a conveniently changed timeline to allow for new biographical occurrences, or else the author can create fantastical “New Joyces” who act in ways completely foreign to his real-life personality. It is my objective to evaluate “James Joyce” literature as an oeuvre, to determine why authors continue to be compelled to retell Joyce’s life story in new and radical ways. Joyce is one of only a few writers who has received this treatment, (with Shakespeare and his “Shakespeare” literature a notable comparison), so I will study why authors have deemed it important to recreate his character fictionally, in multifaceted forms. His role as an artistic innovator is deserving of homage, but his reinvention as a pop-culture icon today is also of importance. I carry out close readings of these “James Joyce” literary works, especially in connection to their usage of intertextual references to Joyce’s works, and how these quotes and stylistic imitations carry out literary homage, parody, pastiche and burlesque concepts. Finally, I will discuss how the works share an overarching stylistic kinship concerning the style of juxtaposing of high artistic culture (intertextual referencing from Ulysses and Finnegans Wake say) with those from popular culture (such as the Da Vinci Code and Back to the Future).
Strandentwining Cable': Joyce, Flaubert, and Intertextuality
French Studies, 2014
S carlett Baron's exhaustive study comes at a time when we are definitely in need of a new, book-length reappraisal of the role of Gustave Flaubert in Joyce's works. Since Ezra Pound first pointed to the filiation, 1 the only published monograph to tackle the subject, by Richard K. Cross, is now over forty years old, 2 and the rest are but articles and book chapters. 3 Joyce's engagement with Flaubert's work not only spans his whole career as a writer: it focuses on writing itself. This begins with the status of the author in A Portrait, which is almost literally translated from Flaubert's correspondence: "[t]he artist in his work must be like God in creation, invisible and all-powerful; you can sense him everywhere but you cannot see him." 4 Referring to this earlier borrowing, Joyce jotted down in the Finnegans Wake notebook VI.B.8 that "G. F." ("like the God of the creation" on the seventh day-P 215) "can rest having made me." 5 Thus Flaubert is perhaps the one writer whose influence on Joyce was the most important, and yet phrasing it this way would be unfair to Baron's study. She is, in fact, careful to place the Flaubert-Joyce connection within a much richer literary web comprising, among many others, Henry James, Oscar Wilde, Marcel Proust, Ezra Pound, Valéry Larbaud, and Jorge Luis Borges. More importantly, in speaking of "influence," I am being embarrassingly naive, employing a binary precursor/successor model that is reductive compared to Baron's both complex and clearly exposited theoretical framework of intertextuality as a meshing system of transmission. Baron takes her cue from Stephen's musings about midwives and navel cords in "Proteus": "[t]he cords of all link back, strandentwining cable of all flesh" (U 3.37). This "strandentwining cable" becomes the eponymous, central image of her study, "an apt extended metaphor for the exceptionally dense and wide-ranging intertextuality of Joyce's writing, which constantly 'link[s] back' to precursor texts, absorbing and entwining the strands of foreign linguistic materials" (2). Reviewing diachronically the whole of Joyce's oeuvre, Baron is a magical midwife in her own right, as she holds all her threads-or cords, rather-together, interrogating the complex questions of paternity, authorship, and intertextuality. She eventually comes full cycle by seeing in Flaubert's and Joyce's extreme practices of intertextuality a probable cause for the development of the critical term coined
James Joyce as a realistic narrative :truth or fiction
James Joyce's, Dubliners, is the collection of short-stories in which “The Dead” and "Eveline" are included. "The Dead" is the last, longest and most famous story of James Joyce's and the "Eveline" is the forth and one of the most attractive story in this book. Joyce's early life, family background, and his catholic background appear in the way he writes these stories. Joyce usually relates his stories to events in his life, there are some stories which are actually events that took place in his life, "The Dead" for example. This study deals with how the image of Joyce's experiences and their consequences in the life is connected with the image of Eveline's and Gabriel's life. This paper is analysis this matter in three dominations: the effect of Joyce's childhood and adulthood and his family, his desires for escaping from his mother land(Ireland), his religious background and the theme of paralysis and death in his country on Eveline and Gabriel.
Invisible Author-Gods: Flaubert, Joyce and Intertextual Theory
This essay is about the formative role played by Flaubert in the development of Joyce’s radically intertextual writing techniques and about these two authors’ joint afterlife in critical theory. It identifies and interprets some of the Flaubertian strains in Joyce’s works, using terms and critical lenses — specifically, those of intertextuality, and to a lesser extent, of critique génétique — to whose inception both writers are deemed, in tandem, to have been instrumental. It begins by scrutinizing Joyce’s adaptation of Flaubert’s analogy between the author and God in 'A Portrait of the Artist as a Young Man'; goes on to consider the continuation of Stephen Dedalus’s Flaubert inflected musings about creativity in 'Ulysses'; and finally, exploring the compositional methods that went into the making of 'Bouvard et Pécuchet' and 'Finnegans Wake', suggests that the extremity of both authors’ citational practices in these final works ultimately rendered necessary the emergence of intertextual theory in the 1960s.