Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905385
R. Gerber
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Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905393
Onno Kosters
4 Joyce, Ulisse, ed. and trans. Enrico Terrinoni, with Carlo Bigazzi (Rome: Newton Compton, 2012). Terrinoni has recently published a ground-breaking bilingual edition, which is the first Italian translation of Ulysses accompanied by the original text: Joyce, Ulisse, ed. Terrinoni (Florence: Giunti-Bompiani, 2021). 5 This was Joyce’s own epithet for Ulysses in a letter to Carlo Linati dated 21 September 1920—see Joyce, Letters of James Joyce, Volume I, ed. Stuart Gilbert (New York: Viking Press, 1966), pp. 146-47.
{"title":"Rewriting Joyce's Europe: The Politics of Language and Visual Design by Tekla Mecsnóber (review)","authors":"Onno Kosters","doi":"10.1353/jjq.2023.a905393","DOIUrl":"https://doi.org/10.1353/jjq.2023.a905393","url":null,"abstract":"4 Joyce, Ulisse, ed. and trans. Enrico Terrinoni, with Carlo Bigazzi (Rome: Newton Compton, 2012). Terrinoni has recently published a ground-breaking bilingual edition, which is the first Italian translation of Ulysses accompanied by the original text: Joyce, Ulisse, ed. Terrinoni (Florence: Giunti-Bompiani, 2021). 5 This was Joyce’s own epithet for Ulysses in a letter to Carlo Linati dated 21 September 1920—see Joyce, Letters of James Joyce, Volume I, ed. Stuart Gilbert (New York: Viking Press, 1966), pp. 146-47.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"60 1","pages":"405 - 408"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49150626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905374
M. Fogarty
ABSTRACT:This essay brings two under-discussed aspects of Friedrich Nietzsche's philosophy, including his reflections on "cultural paralysis" and what he calls the "suprahistorical approach," into a productive philosophical dialogue with a comparably under-discussed aspect of Ulysses, that is, the significance of the role performed by Leopold Bloom's alter ego, Henry Flower. I argue that Bloom creates this alter ego using a process that is reminiscent of Nietzsche's suprahistorical approach, which proposes that an individual, or a body politic, might benefit from selective historical remembrance, with a view to overcoming the paralyzing trauma triggered by the death of his infant son, Rudy. Mindful of the temporal vantage point from which Joyce reflects upon the fictionalized events of 16 June 1904, this essay further demonstrates that the creation of Henry Flower completes the kaleidoscopic mode of narration through which Joyce refracts the stifling legacy of Irish history: first through Stephen Dedalus, then through Leopold Bloom, and ultimately through Henry Flower. When viewed from this perspective, it becomes apparent that the creation of Henry Flower allows Bloom to recognize the restorative potential of a surrogate father-son relationship with Stephen. In this way, Henry Flower performs a conciliatory function that establishes a philosophical blueprint for postcolonial nation-building, thereby underscoring the productive potential that resides in even the most disconcerting depths of Nietzsche's philosophical vision.
{"title":"Henry Flower Esq. and the Uses of History for Life in Ulysses","authors":"M. Fogarty","doi":"10.1353/jjq.2023.a905374","DOIUrl":"https://doi.org/10.1353/jjq.2023.a905374","url":null,"abstract":"ABSTRACT:This essay brings two under-discussed aspects of Friedrich Nietzsche's philosophy, including his reflections on \"cultural paralysis\" and what he calls the \"suprahistorical approach,\" into a productive philosophical dialogue with a comparably under-discussed aspect of Ulysses, that is, the significance of the role performed by Leopold Bloom's alter ego, Henry Flower. I argue that Bloom creates this alter ego using a process that is reminiscent of Nietzsche's suprahistorical approach, which proposes that an individual, or a body politic, might benefit from selective historical remembrance, with a view to overcoming the paralyzing trauma triggered by the death of his infant son, Rudy. Mindful of the temporal vantage point from which Joyce reflects upon the fictionalized events of 16 June 1904, this essay further demonstrates that the creation of Henry Flower completes the kaleidoscopic mode of narration through which Joyce refracts the stifling legacy of Irish history: first through Stephen Dedalus, then through Leopold Bloom, and ultimately through Henry Flower. When viewed from this perspective, it becomes apparent that the creation of Henry Flower allows Bloom to recognize the restorative potential of a surrogate father-son relationship with Stephen. In this way, Henry Flower performs a conciliatory function that establishes a philosophical blueprint for postcolonial nation-building, thereby underscoring the productive potential that resides in even the most disconcerting depths of Nietzsche's philosophical vision.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"60 1","pages":"357 - 377"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48789607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905390
Kathryn Kirkpatrick
4 George Eliot, Middlemarch: A Study of Provincial Life (Edinburgh: William Blackwood and Sons, 1871). 5 See use of the word extensively in Geoffrey Hartman’s Beyond Formalism: Literary Essays 1958–1970 (New Haven: Yale Univ. Press, 1970), The Fate of Reading and Other Essays (Chicago: Univ. of Chicago Press, 1975), and Wordsworth’s Poetry, 1787–1814 (New Haven: Yale Univ. Press, 1964). 6 Henry James, The Portrait of a Lady (Boston: Houghton, Mifflin, 1881). 7 See James Joyce, “The Dead,” “Dubliners”: Text, Criticism, and Notes (pp. 175-224). Brian Gingrich also discusses Gabriel’s epiphany as an “imperial epiphany,” which is an interesting contrast because, while epiphany is a momentous narrative instance, the adjective imperial connotes a vast (in terms of time and space) and contingent phenomenon. Gabriel’s epiphany at the end of the story becomes, in a way, a spark of an understanding that spans hundreds of years of Irish submission to the British. See pages 166-67 in Gingrich for more. 8 See Joyce “A Portrait of the Artist as a Young Man”: Text, Criticism, and Notes, ed. Chester G. Anderson (New York: Viking Press, 1968), and “Ulysses”: The Corrected Text, ed. Hans Walter Gabler et al. (New York: Vintage Books, 1986). Gingrich further explains that “[t]he chapter endings of A Portrait herald a new eastering. Though the famous bird-girl epiphany that ends chapter 4 may resemble the epiphany at the end of ‘The Dead’—a ‘swooning’ into a ‘vast cyclic movement’—its orientation is very different. Stephen faces not inland and westward, but eastand seaward, toward the continent where he will soon seek a new beginning” (p. 174). At the beginning of chapter 5 of the novel, however, we find Stephen westered (at home with all its prosaic connotations) again, as Gingrich argues, and when he leaves Dublin for Paris at the end of the book, he is faced with a (failed, as we see at the beginning of Ulysses) world entry/eastering.
{"title":"Ireland, Literature, and the Coast: Seatangled by Nicholas Allen (review)","authors":"Kathryn Kirkpatrick","doi":"10.1353/jjq.2023.a905390","DOIUrl":"https://doi.org/10.1353/jjq.2023.a905390","url":null,"abstract":"4 George Eliot, Middlemarch: A Study of Provincial Life (Edinburgh: William Blackwood and Sons, 1871). 5 See use of the word extensively in Geoffrey Hartman’s Beyond Formalism: Literary Essays 1958–1970 (New Haven: Yale Univ. Press, 1970), The Fate of Reading and Other Essays (Chicago: Univ. of Chicago Press, 1975), and Wordsworth’s Poetry, 1787–1814 (New Haven: Yale Univ. Press, 1964). 6 Henry James, The Portrait of a Lady (Boston: Houghton, Mifflin, 1881). 7 See James Joyce, “The Dead,” “Dubliners”: Text, Criticism, and Notes (pp. 175-224). Brian Gingrich also discusses Gabriel’s epiphany as an “imperial epiphany,” which is an interesting contrast because, while epiphany is a momentous narrative instance, the adjective imperial connotes a vast (in terms of time and space) and contingent phenomenon. Gabriel’s epiphany at the end of the story becomes, in a way, a spark of an understanding that spans hundreds of years of Irish submission to the British. See pages 166-67 in Gingrich for more. 8 See Joyce “A Portrait of the Artist as a Young Man”: Text, Criticism, and Notes, ed. Chester G. Anderson (New York: Viking Press, 1968), and “Ulysses”: The Corrected Text, ed. Hans Walter Gabler et al. (New York: Vintage Books, 1986). Gingrich further explains that “[t]he chapter endings of A Portrait herald a new eastering. Though the famous bird-girl epiphany that ends chapter 4 may resemble the epiphany at the end of ‘The Dead’—a ‘swooning’ into a ‘vast cyclic movement’—its orientation is very different. Stephen faces not inland and westward, but eastand seaward, toward the continent where he will soon seek a new beginning” (p. 174). At the beginning of chapter 5 of the novel, however, we find Stephen westered (at home with all its prosaic connotations) again, as Gingrich argues, and when he leaves Dublin for Paris at the end of the book, he is faced with a (failed, as we see at the beginning of Ulysses) world entry/eastering.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"60 1","pages":"418 - 420"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47461296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905382
Kevin J. H. Dettmar
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Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905383
Mina M. Đurić,
In conversation, Roche explained that she initially intended to choreograph only a “Penelope” dance, so that is the reason for the show’s title. Siobhan Burke, the New York Times reviewer, praised this dance as “lush . . . lyrical . . . poetic.”2 The Arts Review of Dublin noted that, with Yes and Yes, Roche “plays with the choreographic possibilities of movement (in much the same way that) Joyce did with words,” adding that attending this performance is “a wonderful dreamlike experience.”3 And yes, I’d say yes, it truly was.
在谈话中，罗奇解释说，她最初只是打算编排一个“佩内洛普”的舞蹈，所以这就是节目名称的原因。《纽约时报》评论员西沃恩·伯克称赞这支舞“华丽……抒情的……富有诗意。2《都柏林艺术评论》(The Arts Review of Dublin)指出，罗奇在《是》和《是》中“运用动作编排的可能性(与乔伊斯运用文字的方式大致相同)”，并补充说，观看这场演出是“一次美妙的梦幻体验”。是的，我要说的是，确实如此。
{"title":"Being Global with Joyce in Transition: A Report on the XV James Joyce Italian Foundation Conference in Rome, \"Joys in Transition,\" 1-3 February 2023","authors":"Mina M. Đurić,","doi":"10.1353/jjq.2023.a905383","DOIUrl":"https://doi.org/10.1353/jjq.2023.a905383","url":null,"abstract":"In conversation, Roche explained that she initially intended to choreograph only a “Penelope” dance, so that is the reason for the show’s title. Siobhan Burke, the New York Times reviewer, praised this dance as “lush . . . lyrical . . . poetic.”2 The Arts Review of Dublin noted that, with Yes and Yes, Roche “plays with the choreographic possibilities of movement (in much the same way that) Joyce did with words,” adding that attending this performance is “a wonderful dreamlike experience.”3 And yes, I’d say yes, it truly was.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"60 1","pages":"256 - 259"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46259977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905387
H. Gabler
J Joyce’s Ulysses is a twentieth-century modernist novel published as a material text in a book on 2 February 1922. Produced from the printing-house of Maurice Darantiere in Dijon, France, the book is the product of high professional skill and workshop procedure. The house of Darantiere specialized in deluxe editions and, remarkably so in the early-twentieth century, still practiced typesetting by hand. The multiply successive proofs per gathering, virtually all preserved, identify no less than twenty-six typesetters at work. Over some nine months (mid-summer 1921 to 1 February 1922), the author, typists, printing-house workmen, and, again, author repeatedly interacted in shaping Joyce’s written composition into the firstedition book. Joyce engaged in the process with great intensity. He augmented the text as first submitted by about one-third. On the final proofs, the last contributions of the printing-house copy-editors are in evidence with their final touches to text and typography. The end result is the transposition of the Ulysses text composition, revision, and augmentation into the 732-page artifact of the 1922 first-editionUlysses. The page total is calculated by the book’s own evidence. By tradition, numbers not only have a denotative, definitional quality. They express proportion and even used to signify meaning. In book-making history, the transmedializing of text into book has been accompanied by strong traditions of aesthetic signification established through numbers and proportion. A highly favored tradition survives in the proportioning of book size and type-page dimensions to the ratio of the golden mean. The stretch of pages in the first-edition Ulysses fulfills that ratio. The material text content of the 1922 edition is laid out as a book proportionately between extremes. The first edition of Ulysses as printing-house artifact was hence shaped into an iconic REVIEW ESSAY
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Pub Date : 2023-03-01DOI: 10.1353/jjq.2023.a905388
Annalisa Federici
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