“A Reconsideration of Joyce’s Non-Fiction.” Rev. of Joyce’s Non-Fiction Writings: “Outside his Jurisfiction.” Katherine Ebury and James Alexander Fraser. James Joyce Literary Supplement. 1 (2019): 2-3. (original) (raw)
Related papers
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).
Joyce in Progress: Proceedings of the 2008 James Joyce Graduate Conference in Rome
2009
The essays gathered in Joyce in Progress are the fruit of the First Annual Graduate Conference in Joyce Studies held at the Universita Roma Tre in February 2008, and organized by the Italian James Joyce Foundation. They are a testament to the enduring fascination of Joyce's writings and the ongoing liveliness of debate about the writer and his works and contexts. There is a wide array of genuine research on show here, which looks at Joyce from a variety of angles, focusing on his deeply complex autobiographical fiction through genetic studies, post-colonial studies, eco-criticism and intertextual and multi-modal approaches. This volume offers ground-breaking multi-disciplinary readings and usefully connects Joyce's work with that of contemporary writers, rivals, followers, and successors.
1 The Poetry of James Joyce Reconsidered
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.
Art and artifice, reportage and reportifarce in James Joyce
This paper takes a literary, historical and theoretical look at James Joyce's view and treatment of and by the press in the late 19 th and early 20 th centuries. The reason why is simple: because he baffled the critics, especially the Irish critics (Murphy). Although critics and the public recognized Joyce's genius, they were upset by his apparent renunciation of Catholicism and nationalism, as well perceived pornography in his literary style. So the press of his day framed Joyce as something of an "intelligent but mentally perverted fiend" (Murphy).
2. ‘He chronicled with patience’: Early Joycean Progressions Between Non-Fiction and Fiction
Open Book Publishers, 2018
On the front and back covers of this collection of essays is shadowed, and across the ensuing opening we discern, the entire evidence in writing of John Milton's composition of the poem he began under the title Song and developed by stages of revision into At a Solemn Musick. John Milton is not a modernist author. Yet this double-page spread in his autograph of his earlier writing preserved as 'The Milton Manuscript'' (shelfmark R.3.4) in the Wren Library of Trinity College, Cambridge, shows every characteristic of authorial drafts from later times in later hands.
The Commodification of James Joyce
Crossroads. A Journal of English Studies
Since its publication in 1922, James Joyceʼs Ulysses has been mined by critics more than it has been read by the general public. For several decades academic work on the novel was largely carried out by American scholars, much to the chagrin of Irish academics, and lambasted by everyone from the Irish press and politicians to Joyce family members, and perhaps most of all by the Roman Catholic establishment, which in the years after the formation of the Irish Free State operated almost as an arm of the government. John McCourtʼs highly readable monograph study describes, decade by decade, the reception not only of Ulysses, but also of Joyceʼs other works in Ireland, and analyses the growing commodification of Joyce, charting the growth of the ʻJoyce industryʼ from the early Bloomsday celebrations held by half a dozen enthusiasts to the modern day festivities attended by thousands of revellers, most of whom are happy to admit that they have barely opened Joyceʼs magnum opus. McCourt focuses on three aspects of the consumption of Ulysses: book sales and the early difficulty of obtaining copies of the book; scholarly exploration and critical reception at home and abroad; the use and abuse of Joyce and his work by vested interests, including the Irish government, private businesses, and the Irish tourist industry. A fourth and hitherto under-researched thesis is that Joyceʼs self-imposed exile is central to any interpretation of Ulysses. McCourt argues that Joyce was influenced by his life away from Ireland, especially in Trieste, much more than is acknowledged by most Joyceans.
1992
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