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.
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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.a905389
Ceren Kuşdemir Özbilek
W we like it or not, modern life is regulated by pace. We measure our existence by the way we feel: how quickly the days slip away; how slow time becomes when we are doing something we do not wish to do; or how fast it goes by when we are with loved ones. Recently I have been watching a television series and found myself complaining that the time skips happened too often and too quickly, leaving the audience baffled. Or I remember when I first read Moby Dick in my undergraduate years and felt quite lost when I began the notorious cetological chapters that halt the narrative. I did not know how to interpret them or what to make of them and their contribution to the narrative. Although I have studied narratology over the years and learned to make sense of the way narrative pacing works, Brian Gingrich’s The Pace of Fiction: Narrative Movement and the Novel has certainly filled in some gaps for me. This study about narrative movement and the novel is comprised of an introduction and five chapters. The introduction lays out the central occupation of the study—“how transformations in pacing made and remade novelistic fiction” (1)—through some fundamental definitions. Many of them are the writer’s own renderings—the term pace meaning, for example, “large-forward-rhythmic-shifting-dynamic-temporal narrative movement” (2). Gingrich also reviews literature on narrative pacing with references to E. M. Forster, Viktor Shklovsky, Erich Auerbach, Roland Barthes, and, extensively, Gérard Genette and his Narrative Discourse.1 The chapters of the book, then, historically trace how narrative pacing has affected and been affected, in turn, by the very fabric of the novel through realism and modernism. The first chapter titled “Narrative Discourse, Literary History” introduces the two most crucial narrative units of pacing, scene and summary, and, along with them, other pacing markers such as ellipses and pauses. The author is careful in this chapter not to assign hasty and rigid definitions, and he acknowledges their limits. He argues that “there is no ground for an analysis of pace that is not of a shifting historical nature” (14). Gingrich then outlines the uses of scene and summary in the classical novel (with examples from Laurence Sterne, James Joyce Quarterly 60.3 2023
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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.
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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。
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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.a905392
Margot Norris
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