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This collection of essays is a critical reexamination of Joyce’s famed book of short stories, Dubliners. Despite the multifaceted critical attention Dubliners has received since its publication more than a century ago, many readers and teachers of the stories still rely on and embrace old, outdated readings that invoke metaphors of paralysis and stagnation to understand the book. Challenging these canonical notions about mobility, paralysis, identity, and gender in Joyce’s work, the ten essays here suggest that Dubliners is full of incredible movement. By embracing this paradigm shift, current and future scholars can open themselves up to the possibility of seeing that movement, maybe even noticing it for the first time, can yield surprisingly fresh twenty-first-century readings.
Hope and future are not the terms with which James Joyce has usually been read, but this book paints a picture of Joyce's fiction in which hope and future assume the primary colours. Rando explores how Joyce's texts, as early as Dubliners and A Portrait of the Artist as a Young Man, delineate a complex hope that is oriented toward the future with restlessness, dissatisfaction, and invention. He examines how Joyce envisions alternatives to the prevailing conventions of hope throughout his works and, in Ulysses and Finnegans Wake, develops formal techniques of spatializing hope to contemplate it from all sides. Casting fresh light on the ways in which hope animates key aspects of Joyce's approach to literary content and form, Rando moves beyond the limitations of negative critique and literary historicism to present a Joyce who thinks agilely about the future, politics, and possibility.
Dubliners is a collection of picturesque short stories that paint a portrait of life in middle-class Dublin in the early 20th century. Joyce, a Dublin native, was careful to use actual locations and settings in the city, as well as language and slang in use at the time, to make the stories directly relatable to those who lived there. The collection had a rocky publication history, with the stories being initially rejected over eighteen times before being provisionally accepted by a publisher—then later rejected again, multiple times. It took Joyce nine years to finally see his stories in print, but not before seeing a printer burn all but one copy of the proofs. Today Dubliners survives as a rich example of not just literary excellence, but of what everyday life was like for average Dubliners in their day. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
(Post)colonial modernity in Ulysses and Accra / Ato Quayson -- Joyce and race in the twenty-first century / Malcolm Sen -- Dubliners and French naturalism / Catherine Flynn -- Joyce and Latin American literature : transperipherality and modernist form / José Luis Venegas -- The multiplication of translation / Sam Slote -- Copyright, freedom, and the fragmented public domain / Robert Spoo -- Ulysses in the world / Sean Latham -- The intertextual condition / Dirk Van Hulle -- The macrogenesis of Ulysses and Finnegans wake / Ronan Crowley -- After the Little review : Joyce in transition / Scarlett Baron -- Popular Joyce, for better or worse / David Earle -- Joyce's nonhuman ecologies / Katherine Ebury -- Medical humanities / Vike Plock -- Joyce's queer possessions / Patrick Mullen -- The wake, ideology and literary institutions / Finn Fordham -- Joyce as a generator of new critical history / Jean-Michel Rabaté.
In this book, the first to explore the role of disability in the writings of James Joyce, contributors approach the subject both on a figurative level, as a symbol or metaphor in Joyce’s work, and also as a physical reality for many of Joyce’s characters. Contributors examine the varying ways in which Joyce’s texts represent disability and the environmental conditions of his time that stigmatized, isolated, and othered individuals with disabilities. The collection demonstrates the centrality of the body and embodiment in Joyce’s writings, from Dubliners and A Portrait of the Artist as a Young Man to Ulysses and Finnegans Wake. Essays address Joyce’s engagement with paralysis, masculinity, childhood violence, trauma, disorderly eating, blindness, nineteenth-century theories of degeneration, and the concept of “madness.” Together, the essays offer examples of Joyce’s interest in the complexities of human existence and in challenging assumptions about bodily and mental norms. Complete with an introduction that summarizes key disability studies concepts and the current state of research on the subject in Joyce studies, this volume is a valuable resource for disability scholars interested in modernist literature and an ideal starting point for any Joycean new to the study of disability. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles Contributors: Rafael Hernandez | Boriana Alexandrova | Casey Lawrence | Giovanna Vincenti | Jeremy Colangelo | Jennifer Marchisotto | Marion Quirici | John Morey | Kathleen Morrissey | Maren T. Linett 
Enigmatic, vivid, and terse, James Joyce’s Dubliners continues both to puzzle and to compel its readers. This collection of essays by thirty contributors from seven countries presents a revolutionary view of Joyce’s technique and draws out its surprisingly contemporary implications by beginning with a single unusual premise: that meaning in Joyce’s fiction is a product of engaged interaction between two or more people. Meaning is not dispensed by the author; rather, it is actively negotiated between involved and curious readers through the medium of a shared text. Here, pairs of experts on Joyce’s work produce meaning beyond the text by arguing over it, challenging one another through it, and illuminating it with relevant facts about language, history, and culture. The result is not an authoritative interpretation of Joyce’s collection of stories but an animated set of dialogues about Dubliners designed to draw the reader into its lively discussions.
James Joyce and Classical Modernism contends that the classical world animated Joyce's defiant, innovative creativity and cannot be separated from what is now recognized as his modernist aesthetic. Responding to a long-standing critical paradigm that has viewed the classical world as a means of granting a coherent order, shape, and meaning to Joyce's modernist innovations, Leah Flack explores how and why Joyce's fiction deploys the classical as the language of the new. This study tracks Joyce's sensitive, on-going readings of classical literature from his earliest work at the turn of the twentieth century through to the appearance of Ulysses in 1922, the watershed year of high modernist writing. In these decades, Joyce read ancient and modern literature alongside one another to develop what Flack calls his classical modernist aesthetic, which treats the classical tradition as an ally to modernist innovation. This aesthetic first comes to full fruition in Ulysses, which self-consciously deploys the classical tradition to defend stylistic experimentation as a way to resist static, paralyzing notions of the past. Analysing Joyce's work through his career from his early essays, Flack ends by considering the rich afterlives of Joyce's classical modernist project, with particular attention to contemporary works by Alison Bechdel and Maya Lang.
`Is there one who understands me?' So wrote James Joyce towards the end of his final work, Finnegans Wake. The question continues to be asked about the author who claimed that he had put so many enigmas into Ulysses that it would `keep the professors busy for centuries' arguing over what he meant. For Joyce this was a way of ensuring his immortality, but it could also be claimed that the professors have served to distance Joyce from his audience, turning his writings into museum pieces, pored over and admired, but rarely touched. In this remarkable book, steeped in the learning gained from a lifetime's reading, David Pierce blends word, life and image to bring the works of one of the great modern writers within the reach of every reader. With a sharp eye for detail and an evident delight in the cadences of Joyce's work, Pierce proves a perfect companion, always careful and courteous, pausing to point out what might otherwise be missed. Like the best of critics, his suggestive readings constantly encourage the reader back to Joyce's own words. Beginning with Dubliners and closing with Finnegans Wake, Reading Joyce is full of insights that are original and illuminating, and Pierce succeeds in presenting Joyce as an author both more straightforward and infinitely more complex than we had perhaps imagined. T. S. Eliot wrote of Joyce's masterpiece, Ulysses, that it is `a book to which we are all indebted, and from which none of us can escape'. With David Pierce as a guide, the debt we owe to Joyce becomes clearer, and the need to flee is greatly reduced.
"The Detective and the Cowboy," "Wondering Where All the Dust Comes From," "Ejaculations and Silence," and "Where the Corkscrew Was" these are Garry Leonard's chapter titles for his readings of four of the stories, "An Encounter," "Eveline," "The Boarding House," and "Clay." The titles convey the freshness and thoughtfulness that are indicative of all of Leonard's new readings of these fifteen often-read stories. Leonard begins with an excellent overview of Lacan and proceeds to examine each story in a separate chapter. Lacan's rethinking of human subjectivity plays throughout the book and ultimately unites it. Not only does Leonard's work preserve the complex interplay between Lacanian theory and Joyce's texts, but also completes another and no less significant project: the rescuing of Dubliners from the category of "easy Joyce." Throughout the readings the relevance of Lacan's ideas to feminist theory is emphasized in order to examine both what Lacan terms the "masquerade of femininity" and the equally illusory power structure of the "masculine subject." The frequent and jargon-free explications of Lacan's terms and theories, coupled with a close reading of each of the stories, makes this a book to be consulted by anyone wishing to explore new ways to approach Dubliners, new ways to read these rich stories again.
Building on the long-standing image of Paris as the "Capital of the Nineteenth Century" and the "Capital of Modernity," this book examines the city's place in the imagination of Irish women writers in the long nineteenth century.