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It is the contention of this dissertation that Joyce's Ulysses uses intertextuality with Virgil's Aeneid at politically charged moments in the novel in order to construct a hybridized and intercultural Irish identity. Ulysses is able to do this because the Aeneid constructs an ancient collective identity that prefigures certain features of modern nationalism. While nationalism is an invention of the modern world, the collective political identity of the Aeneid relies on cultural roots tied to a specifically bounded territory, namely the Italian peninsula. The Aeneid constructs a collective identity using strategies, including especially the "reassurance of fratricide," analogous to ideological mechanisms of modern nationalisms.
Illuminates how James Joyce's Ulysses was influenced not just by Homer's Odyssey but by Virgil's Aeneid, as both authors confronted issues of nationalism, colonialism, and political violence, whether in imperial Rome or revolutionary Ireland.
When it comes to James Joyce's landmark work, Ulysses , the influence of three literary giants, Homer, Shakespeare, and Dante, cannot be overlooked. Examining Joyce in terms of Homeric narrative, Dantesque structure, and Shakespearean plot, Weir rediscovers Joyce's novel through the lens of his renowned predecessors.
As a poet and literary critic, Thomas MacGreevy is a central force in Irish modernism and a crucial facilitator in the lives of key modernist writers and artists. The extent of his legacy and contribution to modernism is revealed for the first time in The Life and Work of Thomas MacGreevy. Split into four sections, the volume explains how and where MacGreevy made his impact: in his poetry; his role as a literary and art critic; during his time in Dublin, London and Paris and through his relationships with James Joyce, Samuel Beckett, Wallace Stevens, Jack B Yeats and WB Yeats. With access to the Thomas MacGreevy Archive, contributors draw on letters, his early poetry, and contributions to art and literary journals, to better understand the first champion of Jack B. Yeats, and Beckett's chief correspondent and closest friend in the 1930s. This much-needed reappraisal of MacGreevy, the linchpin between the main modernist writers, fills missing gaps, not only in the story of Irish modernism, but in the wider history of the movement.
American Modern(ist) Epic argues that during the 1920s and ‘30s a cadre of minority novelists revitalized the classic epic form in an effort to recast the United States according to modern, diverse, and pluralistic grounds. Rather than adhere to the reification of static culture (as did ancient verse epic), in their prose epics Gertrude Stein and John Dos Passos utilized recursion, bricolage, and polyphony to represent the multifarious immediacy and movement of the modern world. Meanwhile, H. T. Tsiang and Richard Wright created absurd and insipid anti-heroes for their epics, contesting the hegemony of Anglo and capitalist dominance in the United States. In all, I posit, these modern(ist) epic novels undermined and revised the foundational ideology of the United States, contesting notions of individualism, progress, and racial hegemony while modernizing the epic form in an effort to refound the nation. The marriage of this classical form to modernist principles produced transcendent literature and offered a strenuous challenge to the interwar status quo, yet ultimately proved a failure: longstanding American ideology was simply too fixed and widespread to be entirely dislodged.
James Joyce's Ulysses is considered one of the greatest novels of the twentieth century. This new edition - published to celebrate the book's first publication - helps readers to understand the pleasures of this monumental work and to grapple with its challenges. Copiously equipped with maps, photographs, and explanatory footnotes, it provides a vivid and illuminating context for the experiences of Leopold Bloom, Stephen Dedalus, and Molly Bloom, as well as Joyce's many other Dublin characters, on June 16, 1904. Featuring a facsimile of the historic 1922 Shakespeare and Company text, this version also includes Joyce's own errata as well as references to amendments made in later editions. Each of the eighteen chapters of Ulysses is introduced by a leading Joyce scholar. These richly informative pieces discuss the novel's plot and allusions, while also explaining crucial questions that have puzzled and tantalized readers over the last hundred years.
This volume explores the confluences between two types of literature in contemporary America: the novel and the epic. It analyses the tradition of the epic as it has evolved from antiquity, through Joyce to its American manifestations and describes how this tradition has impacted upon contemporary American writing.
Modernist epic is more interesting and more diverse than we have supposed. As a radical form of national fiction it appeared in many parts of the world in the early twentieth century. Reading a selection of works from the United States, England, Ireland, Czechoslovakia, and Brazil, The Evolutions of Modernist Epic develops a comparative theory of this genre and its global development. That development was, it argues, bound up with new ideas about biological evolution. During the first decades of the twentieth century—a period known, in the history of evolutionary science, as 'the eclipse of Darwinism'—evolution's significance was questioned, rethought, and ultimately confined to the Neo-Darwinist discourse with which we are familiar today. Epic fiction participated in, and was shaped by, this shift. Drawing on queer forms of sexuality to cultivate anti-heroic and non-progressive modes of telling national stories, the genre contested reductive and reactionary forms of social Darwinism. The book describes how, in doing so, the genre asks us to revisit our assumptions about ethnolinguistics and organic nationalism. It also models how the history of evolutionary thought can provide a new basis for comparing diverse modernisms and their peculiar nativisms.
The object of this study, first published in 1980, is to dispel the view that James Joyce had no political views. Although not a political novelist like D. H. Lawrence or Joseph Conrad, political issues and discussions are central to Joyce’s major novels. This title links that political content with Joyce’s own views, and examines the evolution of those views and attitudes. A number of unusual and fascinating sources for Joyce’s thought are uncovered. Joyce’s Politics is thus a thorough review of a neglected aspect of Joyce and his writings, and will be of interest to students of literature.