I has often been said that James Joyce has received more critical attention than any writer of literature in English save William Shakespeare. A corollary, as with Shakespeare, is that an unusual amount has been published about this attention and about what may be called Joyce’s reception as a whole. In earlier decades, sections of books catalogued these fortunes: a long sequence in Marvin Magalaner and Richard M. Kain’s Joyce: The Man, the Work, the Reputation, and the critical afterword in the second edition of Harry Levin’s James Joyce or Hugh Kenner’s “Ulysses,” for instance.1 Then whole books documented aspects of Joyce’s critical reception: Geert Lernout’s The French Joyce, Neil Cornwell’s James Joyce and the Russians, and Jeffrey Segall’s Joyce in America.2 Joseph Kelly’s Our Joyce made a distinguished contribution based on archival research, and I attempted a synoptic narrative in Joyce’s Critics.3 Curiously lacking, amid all this documentation, was a full-length history of Joyce’s reception in Ireland. Now John McCourt offers one. While McCourt’s subtitle refers to Ulysses, in practice, Joyce’s whole corpus and career are involved. The book is arranged simply. Of its ten chapters, the first two describe “Joyce in Ireland before Ulysses” and “Ulysses in Court” (a familiar enough tale this, after the work of other scholars including Joseph M. Hassett’s excellent account The “Ulysses” Trials4). The rest move chronologically from “Ulysses in Ireland in the 1920s” to “Millennial Joyce,” each covering either a decade (“Coming of Age in the 1980s”) or two (“Taking the Tower” describes both the 1960s and 1970s). The parameters of “Irish reception” sometimes need to be flexible. In documenting Joyce’s reception in Ireland, the book mentions the arrival of foreign scholars, from Richard Ellmann through the 1960s symposia participants to academic appointments in this century. Irish responses, meanwhile, sometimes occurred outside the country, whether from Irish ambassadors to Switzerland or Irish academics resident in the United States. But the book primarily records the responses of Irish people in Ireland. It cites early reviews and commentaries; obituaries and reflections on Joyce’s death (notably one from Elizabeth Bowen5); poems that refer to Joyce by Thomas Kinsella, John Montague, or Seamus Heaney;6 and comments on the importance of Joyce from poets and novelists, from Edna O’Brien through Dermot Bolger to Eimear McBride.7 McCourt also chroni-
我经常被说，詹姆斯·乔伊斯比除威廉·莎士比亚之外的任何一位英国文学作家都受到了更多的批评关注。与莎士比亚一样，一个必然的结果是，关于这种关注以及所谓的乔伊斯的整体接受度，已经发表了大量不同寻常的文章。在过去的几十年里，一些章节对这些财富进行了编目：马文·马加拉纳和理查德·M·凯恩的《乔伊斯：人、工作、声誉》中的一个长序列，以及哈里·莱文的《詹姆斯·乔伊斯》或休·肯纳的《尤利西斯》第二版中的评论后记，尼尔·康威尔（Neil Cornwell）的《詹姆斯·乔伊斯与俄罗斯人》（James Joyce and the Russians）和杰弗里·西格尔（Jeffrey Segall。现在约翰·麦考特提供了一个。虽然麦考特的副标题提到了《尤利西斯》，但在实践中，乔伊斯的整个语料库和职业生涯都涉及其中。这本书整理得很简单。在其十章中，前两章描述了“尤利西斯之前的爱尔兰乔伊斯”和“法庭上的尤利西斯”（这是一个非常熟悉的故事，在其他学者的作品之后，包括约瑟夫·M·哈西特的优秀作品《尤利西斯三人组》4）。其余的按时间顺序从《20世纪20年代的爱尔兰尤利西斯》到《千禧一代的乔伊斯》，每一部都涵盖了十年（《20世纪80年代的成年》）或两年（《占领塔楼》描述了20世纪60年代和70年代）。“爱尔兰接待”的参数有时需要灵活。在记录乔伊斯在爱尔兰的接待时，这本书提到了外国学者的到来，从理查德·埃尔曼到20世纪60年代的研讨会参与者，再到本世纪的学术任命。与此同时，爱尔兰的回应有时发生在国外，无论是爱尔兰驻瑞士大使还是居住在美国的爱尔兰学者。但这本书主要记录了爱尔兰人在爱尔兰的反应。它引用了早期的评论和评论；关于乔伊斯之死的讣告和思考（尤其是伊丽莎白·鲍恩的讣告5）；托马斯·金塞拉、约翰·蒙塔古或谢默斯·希尼关于乔伊斯的诗歌；6以及诗人和小说家对乔伊斯重要性的评论，从埃德娜·奥布莱恩到德莫特·博尔格再到艾米尔·麦克布赖德-
{"title":"Consuming Joyce: 100 Years of \"Ulysses\" in Ireland by John McCourt (review)","authors":"J. Brooker","doi":"10.1353/jjq.2022.0034","DOIUrl":"https://doi.org/10.1353/jjq.2022.0034","url":null,"abstract":"I has often been said that James Joyce has received more critical attention than any writer of literature in English save William Shakespeare. A corollary, as with Shakespeare, is that an unusual amount has been published about this attention and about what may be called Joyce’s reception as a whole. In earlier decades, sections of books catalogued these fortunes: a long sequence in Marvin Magalaner and Richard M. Kain’s Joyce: The Man, the Work, the Reputation, and the critical afterword in the second edition of Harry Levin’s James Joyce or Hugh Kenner’s “Ulysses,” for instance.1 Then whole books documented aspects of Joyce’s critical reception: Geert Lernout’s The French Joyce, Neil Cornwell’s James Joyce and the Russians, and Jeffrey Segall’s Joyce in America.2 Joseph Kelly’s Our Joyce made a distinguished contribution based on archival research, and I attempted a synoptic narrative in Joyce’s Critics.3 Curiously lacking, amid all this documentation, was a full-length history of Joyce’s reception in Ireland. Now John McCourt offers one. While McCourt’s subtitle refers to Ulysses, in practice, Joyce’s whole corpus and career are involved. The book is arranged simply. Of its ten chapters, the first two describe “Joyce in Ireland before Ulysses” and “Ulysses in Court” (a familiar enough tale this, after the work of other scholars including Joseph M. Hassett’s excellent account The “Ulysses” Trials4). The rest move chronologically from “Ulysses in Ireland in the 1920s” to “Millennial Joyce,” each covering either a decade (“Coming of Age in the 1980s”) or two (“Taking the Tower” describes both the 1960s and 1970s). The parameters of “Irish reception” sometimes need to be flexible. In documenting Joyce’s reception in Ireland, the book mentions the arrival of foreign scholars, from Richard Ellmann through the 1960s symposia participants to academic appointments in this century. Irish responses, meanwhile, sometimes occurred outside the country, whether from Irish ambassadors to Switzerland or Irish academics resident in the United States. But the book primarily records the responses of Irish people in Ireland. It cites early reviews and commentaries; obituaries and reflections on Joyce’s death (notably one from Elizabeth Bowen5); poems that refer to Joyce by Thomas Kinsella, John Montague, or Seamus Heaney;6 and comments on the importance of Joyce from poets and novelists, from Edna O’Brien through Dermot Bolger to Eimear McBride.7 McCourt also chroni-","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"709 - 712"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47233040","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}
When I looked for books by non-white authors that engage in the same kind of metamedial contemplations of the novel and the book, none of them did quite what Panko describes. In fact, many of them—Dionne Brand’s Theory, for example, or Charles Yu’s Interior Chinatown, both experimental and metamedial novels in their own right3—are concerned with the invisibility of their subjects to the very systems attempting to capture them. This perspective (which, arguably, is evident in Ulysses as well) pushes back against the novel as an archival genre or, rather, considers the colonial violence of archives and thus strategically attempts to elude their contextualizing force. Indeed, considering that Joyce was writing from a perspective of contingent whiteness in a moment of his nation’s revolution from colonialism, Ulysses’s place as the starting point of this study invites a turn to authors who are similarly marginalized by regimes of power. Ultimately, my own desire to push beyond Panko’s case studies, to extend this theorization into different texts, is, in fact, a recognition of Out of Print’s efficacy: I am drawn to think alongside and against this book. But I remain wary about any theorizing of informationmanagement systems that excludes the perspectives of those who have been most harmed by these very systems.
{"title":"The Evolutions of Modernist Epic by Václav Paris (review)","authors":"D. Hand","doi":"10.1353/jjq.2022.0040","DOIUrl":"https://doi.org/10.1353/jjq.2022.0040","url":null,"abstract":"When I looked for books by non-white authors that engage in the same kind of metamedial contemplations of the novel and the book, none of them did quite what Panko describes. In fact, many of them—Dionne Brand’s Theory, for example, or Charles Yu’s Interior Chinatown, both experimental and metamedial novels in their own right3—are concerned with the invisibility of their subjects to the very systems attempting to capture them. This perspective (which, arguably, is evident in Ulysses as well) pushes back against the novel as an archival genre or, rather, considers the colonial violence of archives and thus strategically attempts to elude their contextualizing force. Indeed, considering that Joyce was writing from a perspective of contingent whiteness in a moment of his nation’s revolution from colonialism, Ulysses’s place as the starting point of this study invites a turn to authors who are similarly marginalized by regimes of power. Ultimately, my own desire to push beyond Panko’s case studies, to extend this theorization into different texts, is, in fact, a recognition of Out of Print’s efficacy: I am drawn to think alongside and against this book. But I remain wary about any theorizing of informationmanagement systems that excludes the perspectives of those who have been most harmed by these very systems.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"733 - 736"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43403197","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}
Abstract:Ulysses is full of walkers. Leopold Bloom himself covers about eight miles on foot (and ten more by vehicles) on 16 June. This essay demonstrates how, throughout Ulysses, figures of feet are associated with figures of speech, primarily metonymy and synecdoche. The essay argues that the descriptions of characters' feet and shoes are frequently presented with a tropic and rhythmic sophistication that invokes another definition of "foot": a measurement of poetic syllabification. For both Bloom and Stephen, shoes and feet are significant metonyms that capture their current financial, sexual, and ontological conditions and encapsulate their histories. More broadly, the essay contends that in Joyce's Dublin, feet, along with their fetishes and coverings, represent not only the characters' failures, foibles, and feats, but also the larger social and political conditions that shackle them, as well as their attempts to overcome them. For example, the sexism and ableism that oppress Gerty MacDowell are embodied in her "lame" leg; Ireland's poverty and lack of social services are represented by minor characters such as the one-legged sailor and the neurodivergent Cashel Farrell. Training our critical eyes on feet and shoes is essential if we wish to grasp Joyce's perceptive depiction of the haptic, that system of non-linguistic communication, sensation, and behavior that conveys meanings through physical contact. Pedestrianism exposes subjects to both the dangers and delights of urban living. In a myriad of ways, feet speak in Ulysses.
{"title":"\"Salient points caused by foot pressure\": The Language of Feet in Ulysses","authors":"M. Osteen","doi":"10.1353/jjq.2022.0024","DOIUrl":"https://doi.org/10.1353/jjq.2022.0024","url":null,"abstract":"Abstract:Ulysses is full of walkers. Leopold Bloom himself covers about eight miles on foot (and ten more by vehicles) on 16 June. This essay demonstrates how, throughout Ulysses, figures of feet are associated with figures of speech, primarily metonymy and synecdoche. The essay argues that the descriptions of characters' feet and shoes are frequently presented with a tropic and rhythmic sophistication that invokes another definition of \"foot\": a measurement of poetic syllabification. For both Bloom and Stephen, shoes and feet are significant metonyms that capture their current financial, sexual, and ontological conditions and encapsulate their histories. More broadly, the essay contends that in Joyce's Dublin, feet, along with their fetishes and coverings, represent not only the characters' failures, foibles, and feats, but also the larger social and political conditions that shackle them, as well as their attempts to overcome them. For example, the sexism and ableism that oppress Gerty MacDowell are embodied in her \"lame\" leg; Ireland's poverty and lack of social services are represented by minor characters such as the one-legged sailor and the neurodivergent Cashel Farrell. Training our critical eyes on feet and shoes is essential if we wish to grasp Joyce's perceptive depiction of the haptic, that system of non-linguistic communication, sensation, and behavior that conveys meanings through physical contact. Pedestrianism exposes subjects to both the dangers and delights of urban living. In a myriad of ways, feet speak in Ulysses.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"579 - 596"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48136929","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}
sion; it evokes waves of shock among the guests and requests for more details, which Morkan is unable to provide. She does, however, have one more piece of information to convey: she has laced the evening’s dinner with Julia’s remains. This news stuns her guests for a moment, before Morkan adds that she is just joking. But the damage has been done. The joke has fallen flat; the dinner concludes with dessert left uneaten; and all but one of the guests quickly leave. As the play ends, Morkan is still seated with her remaining guest, and she remarks at how depressing life is. The snow, which has continued to fall outside, now begins falling inside as well. End of play. In sum, while Waiting for Godot as a play is acclaimed—intentionally cryptic, minimalist, and surreally successful—waiting for Gabriel in Epiphany is pretty much a snore. It is not a bad idea for a creative revision but is poorly executed, especially the dialogue. The audience, on the evening I attended this play, seemed to think it was a comedy; they laughed on and off during the performance. I did not find it funny, but it might, in fact, have worked better as a straight comedy. Sadly, there was no epiphany in Epiphany.
{"title":"\"These pots we have to wear\": A Report on the Zurich James Joyce Foundation Workshop, 31 July-6 August 2022","authors":"Talia Abu","doi":"10.1353/jjq.2022.0023","DOIUrl":"https://doi.org/10.1353/jjq.2022.0023","url":null,"abstract":"sion; it evokes waves of shock among the guests and requests for more details, which Morkan is unable to provide. She does, however, have one more piece of information to convey: she has laced the evening’s dinner with Julia’s remains. This news stuns her guests for a moment, before Morkan adds that she is just joking. But the damage has been done. The joke has fallen flat; the dinner concludes with dessert left uneaten; and all but one of the guests quickly leave. As the play ends, Morkan is still seated with her remaining guest, and she remarks at how depressing life is. The snow, which has continued to fall outside, now begins falling inside as well. End of play. In sum, while Waiting for Godot as a play is acclaimed—intentionally cryptic, minimalist, and surreally successful—waiting for Gabriel in Epiphany is pretty much a snore. It is not a bad idea for a creative revision but is poorly executed, especially the dialogue. The audience, on the evening I attended this play, seemed to think it was a comedy; they laughed on and off during the performance. I did not find it funny, but it might, in fact, have worked better as a straight comedy. Sadly, there was no epiphany in Epiphany.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"575 - 578"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42044584","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}
1 Claude Lévi-Strauss, Tristes Tropiques, trans. John and Doreen Weightman (New York: Antheneum Press, 1974). 2 See Wyndham Lewis, Time and Western Man (London: Chatto & Windus, 1927), pp. 101 and following. 3 See, for instance, James Joyce, “A Portrait of the Artist as a Young Man”: Text, Criticism, and Notes, ed. Chester G. Anderson (New York: Viking Press, 1968), p. 162. 4 See John McCourt, The Years of Bloom: James Joyce in Trieste, 1904-1920 (Dublin: Lilliput Press, 2001). 5 See Emilie Morin, Beckett’s Political Imagination (Cambridge: Cambridge Univ. Press, 2017), pp. 76-78. 6 W. B. Yeats, “On the Boiler,” The Collected Works of W. B. Yeats, Vol. V: Later Essays, ed. Elizabeth Bergmann Loizeaux and William H. O’Donnell (New York: Scribner’s Publishers, 1994), pp. 220–51. 7 See Patrick Bixby, “In the Wake of Joyce: Beckett, O’Brien, and the Late Modernist Novel,” in A History of the Modernist Novel, ed. Gregory Castle (Cambridge: Cambridge Univ. Press, 2015), p. 475. 8 See, for instance, Kate O’Brien, Mary Lavelle (New York: Doubleday, Doran, 1936).
{"title":"The Vertical Imagination and the Crisis of Transatlantic Modernism by Paul Haacke (review)","authors":"Miranda Dunham-Hickman","doi":"10.1353/jjq.2022.0037","DOIUrl":"https://doi.org/10.1353/jjq.2022.0037","url":null,"abstract":"1 Claude Lévi-Strauss, Tristes Tropiques, trans. John and Doreen Weightman (New York: Antheneum Press, 1974). 2 See Wyndham Lewis, Time and Western Man (London: Chatto & Windus, 1927), pp. 101 and following. 3 See, for instance, James Joyce, “A Portrait of the Artist as a Young Man”: Text, Criticism, and Notes, ed. Chester G. Anderson (New York: Viking Press, 1968), p. 162. 4 See John McCourt, The Years of Bloom: James Joyce in Trieste, 1904-1920 (Dublin: Lilliput Press, 2001). 5 See Emilie Morin, Beckett’s Political Imagination (Cambridge: Cambridge Univ. Press, 2017), pp. 76-78. 6 W. B. Yeats, “On the Boiler,” The Collected Works of W. B. Yeats, Vol. V: Later Essays, ed. Elizabeth Bergmann Loizeaux and William H. O’Donnell (New York: Scribner’s Publishers, 1994), pp. 220–51. 7 See Patrick Bixby, “In the Wake of Joyce: Beckett, O’Brien, and the Late Modernist Novel,” in A History of the Modernist Novel, ed. Gregory Castle (Cambridge: Cambridge Univ. Press, 2015), p. 475. 8 See, for instance, Kate O’Brien, Mary Lavelle (New York: Doubleday, Doran, 1936).","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"721 - 725"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48932192","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}
I the 1960s and 1970s, Ireland experienced a more open economy, greater access to education, and European Economic Community membership, which all suggested that the strength of Catholic dogma in the state since independence in the 1920s might begin to lessen. In Ireland, moreover, that dogma had particularly centered upon sexual morality. However, Pope John Paul II’s Mass for Youth in Galway in 1979, where he was introduced by the local Catholic bishop, Eamonn Casey, was enthusiastically attended by hundreds of thousands of people, and into the 1980s the Church’s grip remained such that referenda on abortion and divorce were unsuccessful. Casey, popular and high profile throughout this whole period, resigned his bishopric suddenly in May 1992 after it was revealed that in the 1970s he had fathered a son with his Irish-American lover, Annie Murphy, an exposé that shook the foundations of the Catholic Church in Ireland; Irish pop star Sinéad O’Connor’s destruction of a picture of the Pope on Saturday Night Live five months later may have perplexed America, but the gesture made sense in Ireland. Despite the implications of hypocrisy on the bishop’s part, the affair that initiated the Church’s fall from grace involved two consenting adults, in contrast to the kinds of sex scandals soon to emerge. Something “unspeakable” had clearly shaped the Irish laity’s stunted view of sexuality, and this dark history started to emerge in Murphy’s 1993 memoir, which revealed that Casey had sought to involuntarily confine her in an Irish convent and force her to give up their child for adoption.1 Murphy’s disclosure garnered little immediate attention amid salacious discussion of her 1970s trysts with Casey. The implication of Joseph Valente and Margot Gayle Backus’s deeply informative introductory survey of child abuse in Ireland in The Child Sex Scandal and Modern Irish Literature: Writing the Unspeakable, however, is that Casey’s attempted confinement of both mother and “illegitimate” child was the real scandal (23). Murphy’s 1993 revelation heralded the subsequent onslaught of disclosures regarding the incarceration, sexual and physical abuse, and neglect of vulnerable children and their mothers at the hands of the priests, brothers, or nuns in charge of post-independence Ireland’s borstals, Magdalene Laundries, and Mother and Baby Homes. Further sources of outrage from the 1990s onward were revelations that the hierarchy repeatedly placed the rep-
{"title":"The Child Sex Scandal and Modern Irish Literature: Writing the Unspeakable by Joseph Valente and Margot Gayle Backus (review)","authors":"Mary M. Burke","doi":"10.1353/jjq.2022.0032","DOIUrl":"https://doi.org/10.1353/jjq.2022.0032","url":null,"abstract":"I the 1960s and 1970s, Ireland experienced a more open economy, greater access to education, and European Economic Community membership, which all suggested that the strength of Catholic dogma in the state since independence in the 1920s might begin to lessen. In Ireland, moreover, that dogma had particularly centered upon sexual morality. However, Pope John Paul II’s Mass for Youth in Galway in 1979, where he was introduced by the local Catholic bishop, Eamonn Casey, was enthusiastically attended by hundreds of thousands of people, and into the 1980s the Church’s grip remained such that referenda on abortion and divorce were unsuccessful. Casey, popular and high profile throughout this whole period, resigned his bishopric suddenly in May 1992 after it was revealed that in the 1970s he had fathered a son with his Irish-American lover, Annie Murphy, an exposé that shook the foundations of the Catholic Church in Ireland; Irish pop star Sinéad O’Connor’s destruction of a picture of the Pope on Saturday Night Live five months later may have perplexed America, but the gesture made sense in Ireland. Despite the implications of hypocrisy on the bishop’s part, the affair that initiated the Church’s fall from grace involved two consenting adults, in contrast to the kinds of sex scandals soon to emerge. Something “unspeakable” had clearly shaped the Irish laity’s stunted view of sexuality, and this dark history started to emerge in Murphy’s 1993 memoir, which revealed that Casey had sought to involuntarily confine her in an Irish convent and force her to give up their child for adoption.1 Murphy’s disclosure garnered little immediate attention amid salacious discussion of her 1970s trysts with Casey. The implication of Joseph Valente and Margot Gayle Backus’s deeply informative introductory survey of child abuse in Ireland in The Child Sex Scandal and Modern Irish Literature: Writing the Unspeakable, however, is that Casey’s attempted confinement of both mother and “illegitimate” child was the real scandal (23). Murphy’s 1993 revelation heralded the subsequent onslaught of disclosures regarding the incarceration, sexual and physical abuse, and neglect of vulnerable children and their mothers at the hands of the priests, brothers, or nuns in charge of post-independence Ireland’s borstals, Magdalene Laundries, and Mother and Baby Homes. Further sources of outrage from the 1990s onward were revelations that the hierarchy repeatedly placed the rep-","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"703 - 706"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48810384","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}
T man in the macintosh is a man in a hat, because every man of the time wore headgear. Hence, in “Counterparts,” Farrington has a ruse, which depends on the reader’s understanding that a man not taking his hat from its place on the hat-rack is not going outdoors.1 True in general, this is doubly true for “Hades.” In that episode, men’s hats—“[t]hese pots we have to wear”—are a major concern.2 “Hades” begins with Martin Cunningham’s “silkhatted head” going into a carriage and ends with the unpleasantness over the dinge in John Henry Menton’s hat (U 6.01). In between—in the street, in the chapel, at the gravesite—men’s hats are repeatedly being taken off and put back on. The reason for this is obvious. “Hades” is about a funeral, and the doffing and donning of hats is a standard feature of the funeral ceremony, which in turn depends on the understanding that every male present will show up wearing one. So, perforce, the man in the macintosh wears one. If he did not, if he were the only perpetually bareheaded man in the company, he would have been noticed from the outset and not just because of his raincoat. Aside from Menton’s dented bowler, there may be another notable hat present in the episode, unusual in one particular: it can render the wearer invisible. In his study of Ulysses Notebook VIII.A.5, Phillip F. Herring calls attention to Joyce’s identification (confirmed in the Carlo Linati list of correspondences3) of John O’Connell with Hades, the Greek lord of the underworld, and then adds that in the same notes
{"title":"The Man in the Macintosh Is a Man in a Hat","authors":"J. Gordon","doi":"10.1353/jjq.2022.0030","DOIUrl":"https://doi.org/10.1353/jjq.2022.0030","url":null,"abstract":"T man in the macintosh is a man in a hat, because every man of the time wore headgear. Hence, in “Counterparts,” Farrington has a ruse, which depends on the reader’s understanding that a man not taking his hat from its place on the hat-rack is not going outdoors.1 True in general, this is doubly true for “Hades.” In that episode, men’s hats—“[t]hese pots we have to wear”—are a major concern.2 “Hades” begins with Martin Cunningham’s “silkhatted head” going into a carriage and ends with the unpleasantness over the dinge in John Henry Menton’s hat (U 6.01). In between—in the street, in the chapel, at the gravesite—men’s hats are repeatedly being taken off and put back on. The reason for this is obvious. “Hades” is about a funeral, and the doffing and donning of hats is a standard feature of the funeral ceremony, which in turn depends on the understanding that every male present will show up wearing one. So, perforce, the man in the macintosh wears one. If he did not, if he were the only perpetually bareheaded man in the company, he would have been noticed from the outset and not just because of his raincoat. Aside from Menton’s dented bowler, there may be another notable hat present in the episode, unusual in one particular: it can render the wearer invisible. In his study of Ulysses Notebook VIII.A.5, Phillip F. Herring calls attention to Joyce’s identification (confirmed in the Carlo Linati list of correspondences3) of John O’Connell with Hades, the Greek lord of the underworld, and then adds that in the same notes","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"691 - 699"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44618352","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}
4 James Joyce, “An Encounter,” “Dubliners”: Text, Criticism, and Notes, ed. Robert Scholes and A. Walton Litz (New York: Viking Press, 1969), p. 26. 5 See Kate O’Brien, The Land of Spices (London: William Heinemann, 1941); Edna O’Brien, The Country Girls (Harmondsworth: Penguin Books, 1963); Keith Ridgway, The Long Falling (London: Faber Publishers, 2004); Tana French, In the Woods (New York: Penguin Books, 2019); and Anne Enright, The Gathering (New York: Grove Press, 2007). 6 Fintan O’Toole, The Politics of Magic (Dublin: New Island Press, 1994), p. 19.
{"title":"James Joyce's Correspondence ed. by Dirk Van Hulle et al. (review)","authors":"P. Hastings","doi":"10.1353/jjq.2022.0033","DOIUrl":"https://doi.org/10.1353/jjq.2022.0033","url":null,"abstract":"4 James Joyce, “An Encounter,” “Dubliners”: Text, Criticism, and Notes, ed. Robert Scholes and A. Walton Litz (New York: Viking Press, 1969), p. 26. 5 See Kate O’Brien, The Land of Spices (London: William Heinemann, 1941); Edna O’Brien, The Country Girls (Harmondsworth: Penguin Books, 1963); Keith Ridgway, The Long Falling (London: Faber Publishers, 2004); Tana French, In the Woods (New York: Penguin Books, 2019); and Anne Enright, The Gathering (New York: Grove Press, 2007). 6 Fintan O’Toole, The Politics of Magic (Dublin: New Island Press, 1994), p. 19.","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":"59 1","pages":"706 - 708"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43495173","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}
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