The Use of ‘Pishogue’ in Ulysses: One of Joyce’s Mistakes? (original) (raw)
Related papers
Irish-Israelism: Reconsidering the Politics of Race and Belonging in "Cyclops"
James Joyce Quarterly, 2018
This article re-considers the language of racial stereotype that is at the forefront of the “Cyclops” episode in Ulysses. Critics have long characterized the conflict between Leopold Bloom and the Citizen in terms of how each character defines the Irish nation. According to these readings, Bloom’s cosmopolitanism stands against the Citizen’s xenophobic nationalism. But the latter’s reliance on the language of racial stereotype — most evident in the anti-Semitic insults he hurls at Bloom — betrays the decidedly non-local basis to his rhetoric. Indeed, this essay reveals the extent to which the Citizen’s conceptualization of the Irish nation actually appropriates the language of Jewish nationalism, a discourse that circulated throughout Britain during the turn of the twentieth century.
In the Eye of the ‘Cyclops’ Episode: a Bakhtinian Reading in James Joyce’s Ulysses
Language. Philosophy. Culture., 2016
This article aims to provide a Bakhtinian analysis of a pivotal moment in the 'Cyclops' episode in Ulysses. At the beginning of the episode, Bloom has disappeared from the narrator's focus, but he gradually comes back to the fore under the eyes of the Nameless One. While showing that this excerpt is a multilayered piece of comedy, the article intends to simultaneously study the carnivalesque dimension of the burgeoning tensions of the moment.
"The Most Precious Victim": Joyce's "Cyclops" and the Politics of Persecution
James Joyce Quarterly, 2008
Recent criticism has complicated the conventional view of James Joyce as a politically-disinterested pacifist by restoring Ulysses to the Irish colonial context from which it originally emerged. Despite significant contributions, these critics have struggled to reconcile an “Irish Joyce” with a Leopold Bloom who was once seen as the mouthpiece for the author’s pacifism. By reading the “Cyclops” episode through the lens of René Girard’s theory of the scapegoat, this paper claims that the Jewish Bloom elucidates rather than complicates these postcolonial interpretations. Girard’s theory exposes the violence that connects the disparate notions of history, mythology, and community that underlie “Cyclops” and the particular form of colonialism it represents. The essay concludes that Joyce reveals and disrupts the scapegoating process. In so doing, he undermines the civilization that both nationalism and colonialism insist upon, and challenges the very nature of community.
James Joyce Quarterly, 2007
H arold Bloom reports with relish the sensation of "writing an introduction to a volume of Joyce criticism on June 16," given that "one's name is Bloom" (1). While a book series on "Major Literary Characters" seems an elementally good idea, and while the complete list sounds intriguing-including Elizabeth Bennett and King Arthur-in practice this particular volume is slightly flat. Bloom's characteristically sweeping introduction does not add to our understanding of his namesake. The content of the volume itself comprises eleven additional essays, all previously published, followed by a character profile (which, in an example of rather sloppy editing, cites some of the precise passages from Ulysses that the last essays do) and a brief bibliography. The selection includes excerpts from Richard Ellmann's and Hugh Kenner's works as well as more recent-though not that recent-selections from Suzette Henke, Vincent Cheng, Zack Bowen, and others. This is, in other words, a gathering together of highly respected Joyceans, chosen in no small part, it seems to this reviewer, for their pieces' relevance to Bloom's-Harold's, that is-own interests and preoccupations. Since Bloom appreciates clear, inviting prose, we are thus treated to the opportunity to reread bits and pieces of Kenner's "Ulysses," and a very little bit indeed of Ellmann's "Ulysses" on the Liffey (a scant four pages), both of whose writing remains lucid and precise. 1 Fritz Senn's "Bloom Among the Orators" repays rereading too, with its subtle and deliberate consideration of Bloomian rhetoric in the context of Dublin speech. 2 Since Bloom also retains a strong interest in psychoanaly
"The Opposite of Hatred": Undoing Nationalism in Joyce's Ulysses
Colloquium: New Philologies, 2019
The epitome of chauvinist narrow-mindedness in Joyce's Ulysses is the drunken brawler and anti-Semite depicted in the novel's twelfth chapter, "Cyclops". Using his mock-heroic approach as one of the essential stylistic devices in Ulysses, Joyce connects this character to the one-eyed giant Polyphemus of the original Homeric epic. As Randall Stevenson suggests in his study Modernist Fiction, Joyce uses the allusion to Cyclops to warn his readers of any "one-eyed", narrow or single-minded view of reality (such as nationalism) and the dangerous patterns of behaviour that might ensue from it. However , Joyce's intention is not just to repudiate or mock nationalism, but also to offer an alternative, a way of resisting the dangerous mindset embodied in Cyclops. Stevenson argues that Joyce accomplishes this by the very narrative method his novel employs: with its constantly shifting perspectives, its myriad styles and points of view, it successfully fights against any narrowing of vision-and so, by implication, against any tendency towards localism, division, ethnic or religious hatred. In her study Upheavals of Thought: The Intelligence of Emotions, Martha Nussbaum likewise focuses on the twelfth chapter of Ulysses in order to analyse the novel's political stance and its repudiation of nationalist and religious bigotry. In Nussbaum's opinion, however, Joyce's strategy in dealing with these issues is inseparable from one of the major motifs in the novel, i.e., the author's celebration of physical love.
and Poldy not Irish enough...": Nationalism and Ideology in James Joyce's Ulyssess
2008
as going very bare of learning, as wild hares, as anatomies of death: "What ish my nation?" And sensibly, though so much later, the wandering Bloom replied, "Ireland," said Bloom, "I was born here. Ireland." One of the many lures of Ulysses (1922) centers around the character of Leopold Bloom. He personifies, arguably, the heart of Joyce's epic: an advertisement canvasser wandering along the streets of Dublin on June 16, 1904, as he would on any given day. But Bloom is Jewish, moderate in his political views, works, and does not drink or gamble; in short, his depiction stands out as a far cry from the stereotypical Irish man of Joyce's earlier Dubliners (1914), where the salesman was initially meant to belong. In crafting this character, Joyce highlighted Bloom's ―otherness,‖ yet the context of Ulysses-overflowing with intertextual references to Joyce's collection of short stories and his novel A Portrait of the Artist as a Young Man (19...
An Immodest Proposal: The Politics of the Portmanteau in Ulysses (James Joyce Quarterly 51.2)
Much criticism of Joyce falls into three camps: one that understands Joyce as an exemplar of artistic autonomy; another that finds in the author’s language a hybridity that resists the logic of colonialism; and a third that locates his works’ politics in their narrative material. This paper argues for a fourth position: that a distinct anti-imperial politics can be located in the style of Ulysses, if style is construed not at the level of the sentence but rather of the word. In the inauguration (in “Proteus”) and strategic and asymmetrical deployment (in “Scylla and Charybdis”) of the portmanteau, Joyce attempts to create a language that surpasses Standard English and the political project it supports.