Joyce and the Eighteenth Century Novel – in the footsteps of Melchiori (original) (raw)
Related papers
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.
The Novel in Ireland and the Language Question: Joyce's Complex Legacy
Logos: a journal of modern culture and society, 2022
he undiminished impact of Joyce in world literature, as well as the great critical and commercial popularity of contemporary Irish fiction, can blind us to the fact that the novel has an uneasy place in the Irish literary tradition. For more than a century, Irish fiction has enjoyed popularity and esteem on the world literary stage out of all proportion to the size of the country's population. But whereas in poetry and drama one can easily discern relationships and lineages amongst Irish writers, and identify shared concerns, influences, and practices shaping their work, it is very difficult to describe the contours of "the Irish novel" or to account, collectively, for its success. There is very little, on the surface, to connect the linguistic experimentation of Anna Burns' Milkman, the satirical comedy of Claire Kilroy or Paul Murray, the unadorned, quasi-didactic prose of Sally Rooney, and the vernacular flights of Patrick McCabe. It is harder still to perceive a clear connection between contemporary Irish novelists and their pioneering forebears in the twentieth century. Moreover, while Irish novels continue to win prizes and acclaim, and abroad Ireland is viewed as a veritable fiction factory, in the Irish popular imagination at home, in a way unimaginable in France, England, the United States, or Italy, the emblematic image of "the writer" has stubbornly remained (or at least did until very recently) that of a poet or a playwright rather than a novelist.
JOYCE AND THE DISCOURSE AGAINST ENGLISH HEGEMONY
Although Terence Brown claims, “Ireland in the 1930s was not significantly attentive to modernism,” his later discussion of the contributions of the Irish Literary Revival appears to weaken his original claim (31). Modernism’s fondness for irony and self-conscious artistic creation may not be featured in the works of the Revival, but it is questionable whether the later Modernists would have had the foundations upon which to build without the experiments in translation and historical time undertaken by the Revivalists. One of the hallmarks of the Literary Revival was its recourse to the myths and legends of the Gaelic distant past. W.B. Yeats’ collection The Rose (1893) and Lady Gregory’s Cuchulain of Muirtheimne (1902) constitute some of the Revival’s most famous tributes to past Gaelic glory. For most scholars and readers of these stories of Cuchulainn or poems about Fergus and Finn, these works contain none of Modernism’s fondness for skepticism, difficulty, irony, or self-consci...
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).
1992
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Joyce, Ireland, Britain (review)
Modernism Modernity, 2008
H istory has proven to be less a nightmare than a boon for Joyceans in recent years. Though critics have acknowledged the historical significance of Joyce's texts at least since T. S. Eliot first noted that Ulysses made sense of the "immense panorama of futility and anarchy which is contemporary history," 1 the last twenty years or so have seen the development of a decisive historicist trend in Joyce studies. For Andrew Gibson and Len Platt, however, important studies of Joyce and history by scholars like Robert Spoo and James Fairhall remained frustratingly theoretical and for that reason missed the "Joycean lesson of specificity" (6). 2 The essays in this volume are meant to overcome this tendency toward abstraction by employing a form of historical analysis the editors call the "London method" (17). Though they confess that, aside from themselves, there is no "London school," they describe "a certain set of intellectual and scholarly habits that feature in the work that London Joyceans tend specifically to do" (17). These habits cohere as a more or less materialist method in which "the relation of theory to history and text" is altered (18). The practitioners of this method do not claim to offer an "accessible, final truth" (19). Indeed, they are interested primarily in the "possibility of establishing certain limits to interpretation" (19). What this generally means is a greater emphasis on the particulars of historical context, though as some of the essays demonstrate, discussions of historical abstractions are not excluded. For example, Finn Fordham's genetic approach to Finnegans Wake uncovers Joyce's "ironization of universal history" and his "critique of how universalization appeared in flawed attempts to justify imperialist policy" (199). In Fordham's view, the "[t]ranshistoricism" of Joyce's texts is precisely the effect of a continuity between particularities across time (202). This is not Hegelian totalization but a kind of "[t]ransepochal pattern hunting" that results in a "mockery of universalization" (203, 209). The London school appears to have learned the lessons of Michel Foucault, for while it "aims at exactitude," it is also "attentive to the possibility of historical discontinuities, ruptures, breaks" (19). Just as often, though, Joyce's texts give evidence of surprising historical continuities and connections, as is evident in Wim Van Mierlo's essay, which argues that "Joyce's high notions of exile" were part of a long history of emigration in Ireland, from voyaging saints like St. Brendan to the "heyday of the Celtic Tiger" (180, 195). In this context,