{"title":"John M. Glynn (1834-93): Organist and Professor Of Music","authors":"Vivien Igoe","doi":"10.1353/DJJ.2009.0015","DOIUrl":"https://doi.org/10.1353/DJJ.2009.0015","url":null,"abstract":"John Glynn who was born in Dublin in 1834 was the son of John Glynn,1 a civil servant who was a clerk of works at City Hall. His early education was at Mr Nattin’s school in South Richmond Street, Dublin. A gifted musician from an early age, he was taught music by James Wilkinson, an eminent organist. Glynn’s first professional appointment was at St Peter’s Church, in Drogheda, Co Louth where he remained for some years. He then returned to Dublin where he worked as organist in the Dominican Church, old Denmark Street and from there he went to the Church of St Nicholas of Myra in Francis Street where he remained until 1866. He was next appointed to the Vincentian Church, Phibsborough,2 and from there he was appointed to the Dominican Church, Dominick Street a position he retained until 1887,3 when he succeeded Hamilton Croft as organist and choirmaster of the Jesuit Church in Gardiner Street. Here Glynn inaugurated the beautiful new organ built by John White who worked on many of the organs in Dublin in the nineteenth century.4 It replaced the original instrument, which was made by Flight & Robson in 1836. Glynn worked diligently organizing and developing the church choir. Glynn was the director of the Cecilian Society,5 established in Dublin some years previously. Under his conductorship, it gave many successful concerts. He conducted the first Cecilian Festival held in St Andrew’s Church, Westland Row in 1879.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126983487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Second Annual James Joyce Research Colloquium, 16-18 April 2009","authors":"Maria-Daniella Dick","doi":"10.1353/DJJ.2009.0025","DOIUrl":"https://doi.org/10.1353/DJJ.2009.0025","url":null,"abstract":"Mullingar Inn’ in Chapelizod for a delicious lunch. The most fanatical and intrepid Joyceans subsequently embarked on an epic Wake hike through Phoenix Park, taking in sights such as the ‘Furry Glen’, the ‘Magazine Wall’, and the Wellington Monument/‘overgrown milestone’. ‘I made do’ with visiting the Wakean ‘House by the Churchyard’ close by the Inn, but the Phoenix Park Wake ‘location hunt’ lasted all day, so I am told! This was a successful and entertaining two-day event. Speaking for myself (that is a ‘green’ Wake student with only a year and a half worth’s experience) the ‘Wake-end’ invaluably shattered my prior research approach to the novel. It taught me that Finnegans Wake CANNOT be read alone and that one must engage with the Wakean community before committing any interpretations and theories to print. Wakean networking, whether by email, Skype, or Facebook, is clearly the lifeblood that keeps all our criticism alive and vital. Here’s to a second UCD ‘Wake-end’ in the near future! Finnegans Wake deserves its time in the limelight. Move aside ‘Bloomsday’!","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"24 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132025799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Protean Phenomenology and Genealogy","authors":"S. Slote","doi":"10.1353/DJJ.2009.0027","DOIUrl":"https://doi.org/10.1353/DJJ.2009.0027","url":null,"abstract":"I shall begin with a question: what, exactly, is Stephen doing on Sandymount strand? The short answer would be that he is interpreting the world around him, contemplating the various phenomena disclosed to him by his senses. More accurately, however, at least at the start of the episode, he is interpreting or attempting to interpret how his faculties of interpretation operate. The episode begins with Stephen contemplating the quality of the phenomenon of visual perception, the ‘Ineluctable modality of the visible’ (U 3.01), as it were. But Stephen is not contemplating the qualia of visibility as such, rather his thoughts and perceptions and thoughts about his perceptions are mediated by or inflected through contemplations of Aristotle and others. The ‘[s]ignatures of all things I am here to read’ (U 3.02) are countersigned by others, such as, in this case, Jacob Boehme, the German mystic and cobbler who wrote the treatise Signatura Rerum. The matrix of Stephen’s mind is conditioned by others, by all the others that come before, that pre-date and pre-sign his being. At least on some level, what Stephen is doing on Sandymount strand is he is acting as a ventriloquist – a word to which I shall return at the conclusion of this essay. But, again, what is Stephen doing on Sandymount strand? This question could be rephrased in Latin: unde et quo, whither and whence? Unsurprisingly, the answer to this question is not entirely straightforward since Stephen’s presence on the strand, after having taught at Dalkey, is not without some logistical complications. Sandymount is too far away from Dalkey for Stephen to have walked in the time available. Furthermore, in ‘Hades’, Bloom sees Stephen at or near Watery Lane (U 6.39). This raises the problem of the temporal conjunction between ‘Proteus’ and ‘Hades’, something which Joyce revised between the two schemata. On the Linati schema the two episodes were designed as consecutive, with ‘Proteus’ set between ten and eleven and ‘Hades’ between eleven and twelve; while on the later Gilbert schema they are concurrent, both taking place between eleven and tweleve. Following from the Linati schema, Danis Rose proposed that Stephen must have taken the 10","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128838231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dublin James Joyce Summer School, 5-11 July 2009","authors":"Elaine Wood","doi":"10.1353/DJJ.2009.0030","DOIUrl":"https://doi.org/10.1353/DJJ.2009.0030","url":null,"abstract":"If the Abbey Theatre had a marquee, and if the Dublin James Joyce Summer School participants met there on opening night instead of two nights later, then Joycean star names like ‘Fritz Senn!’ would almost certainly flash boldly in neon. Instead of neon lighting, heat lightning, or even light reflecting from Buck Mulligan’s ‘untonsured hair’ (U 1.15), the reigning sky-god Jupiter offered a rainy night in Dublin on 5 July 2009. On this night Joyce scholars from around the world met about two blocks from St Stephens Green, at Houricans pub, to chat about the outpourings of Jupiter and the epiphanies of Ulysses. In addition to week-long seminars on Ulysses, directed by Fritz Senn (Zurich James Joyce Foundation) and Tom Halpin (Dublin City University), the Summer School offered seminars on other Joyce texts: Dubliners, directed by Peter van de Kamp (Institute of Technology, Tralee); A Portrait of the Artist as a Young Man, directed by Christine O’Neill (Arts Council); and Finnegans Wake, directed by Terence Killeen (The Irish Times). The seminars took place each afternoon (5–11 July) following morning lectures at Newman House, University College Dublin and Boston College, Ireland. The Summer School also offered workshops, one in the late afternoon during the first three days of the school. These workshops included ‘Possibilities of the Archive: Social and Cultural Historical Documents’, presented by the Director of the UCD James Joyce Research Centre and President of the International James Joyce Foundation, Anne Fogarty; ‘Genetic Approaches to Ulysses’, presented by the Associate Director of the Dublin James Joyce Summer School, Luca Crispi (University College Dublin); and ‘Work in Preprogress: Before King Roderick’s Times (Genetic Approaches to Finnegans Wake)’, presented by Robbert-Jan Henkes (The Netherlands). The Finnegans Wake seminar focused on the ‘buried letter’ section (FW 104– 25) and read it as a meta-commentary on the entirety of the Wake. The seminar investigated the ever-expanding universe of Finnegans Wake, how to approach a text that is not rigidly structured – ‘writing thithaways end to end and turning, turning and end to end hithaways writing and with lines of litters slittering up and louds of latters slettering down’ (FW 114.16–18) – and its capacity to increase curiosity about what language was, is, and can be. Comprised of students, an investment banker, a journalist, a secretary, and DUBLIN JAMES JOYCE JOURNAL","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"196 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114737851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"'Museum With Those Goddesses': Bloom and the Dublin Plaster Casts","authors":"F. Cullen","doi":"10.1353/DJJ.2009.0024","DOIUrl":"https://doi.org/10.1353/DJJ.2009.0024","url":null,"abstract":"During the second half of the nineteenth century, as Dublin established its own public art gallery and museum, the display of white plaster casts of wellknown Greco-Roman statuary dominated the visitor’s first encounter with the collections housed in these new temples of art. The National Gallery of Ireland, in Merrion Square, opened its doors in 1864 while a Museum of Science and Art, which eventually became the National Museum of Ireland, situated only a short distance away on Kildare Street, was accessible to visitors from 1890. Both of these state-funded institutions, in the early decades of their existence, displayed classical casts in their entrance halls or first rooms and such an introduction coloured the whole visiting experience. As museum culture developed in the nineteenth century, many art institutions in Europe and North America displayed authentic classical statuary or casts in their entrance halls or rotundas so as to assuage contemporary fears that the art viewer would be bombarded with the new and/or the unknown. In 1828, the architect of Berlin’s Altes Museum, Karl Friedrich Schinkel and the Museum’s first director, Gustav Friedrich Waagen, were of the opinion that such a display would ‘first delight, then instruct.’1 By the end of the century, such a philosophy extended as far as the Museum of Fine Arts in Boston. This museum opened in 1876 and the classical greeted the visitor there well into the early years of the twentieth century.2 The story is no different in Ireland. This essay will chart the display of Greco-Roman casts in Ireland from their early nineteenth-century appearance in Cork to the National Gallery of Ireland’s acquisition of casts in the eighteen sixties. It will end with a consideration of Leopold Bloom’s fictitious visit in 1904 to the Kildare Street ‘museum with those goddesses’ (U 13.1215). The aim is to convey a sense of what was actually available as one wandered into a gallery or museum and as one participated in the newly accessible era of cultural consumption.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133576491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"'The Tommy Moore Touch': Ireland and Modernity in Joyce and Moore","authors":"Emer Nolan","doi":"10.1353/DJJ.2009.0002","DOIUrl":"https://doi.org/10.1353/DJJ.2009.0002","url":null,"abstract":"In A Portrait of an Artist as a Young Man, Stephen Dedalus expresses his disdain for Thomas Moore, author of the Irish Melodies and the most popular Irish writer of the nineteenth century. As he passes ‘the droll statue of the national poet of Ireland’ in College Green, Stephen remarks on the figure’s ‘servile head’, describing Moore as a ‘Firbolg in the borrowed cloak of a Milesian’ (P V.216–21).1 In Ulysses, Leopold Bloom sees the same statue and comments, with an ironic nod to one of the best-known Melodies, that ‘[t]hey did right to put him over a urinal: meeting of the waters’ (U 8.414–15). Moore is apparently a despised figure, but perhaps here as elsewhere, Stephen’s contempt is in fact a measure of his intense involvement. In spite of his occasional scorn for Moore, Joyce refers to the Melodies throughout his works, alluding to every one of them in Finnegans Wake: he takes their appeal seriously and clearly was not immune to it himself.2 Louis Gillet recalls how Joyce would play ‘his treasury of Irish melodies’ on the piano in Paris, his listeners ‘suspended on the doleful and nostalgic cadences’.3 On one occasion in A Portrait, Stephen returns to ‘the chaos and misrule’ of his father’s house and finds his younger brothers and sisters singing Moore’s ‘Oft in the Stilly Night’ over the remains of their tea and bread:","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125423682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"'I Suppose They're Just Getting up in China Now': Joyce, The City, and Globalization","authors":"Fintan O'toole","doi":"10.1353/DJJ.2008.0010","DOIUrl":"https://doi.org/10.1353/DJJ.2008.0010","url":null,"abstract":"Ulysses is one of the most local of great books, unfolding within a small city whose peripherality and intimacy are constantly stressed. It is, to use a phrase from James Joyce’s brother, Stanislaus, a book about the ‘lying, untrustworthy, characterless inhabitants of an unimportant island in the Atlantic’.1 Yet, faraway China drifts unbidden into the thoughts of ordinary, relatively uneducated Dubliners. Leopold Bloom, in Glasnevin cemetery for Paddy Dignam’s funeral, suddenly thinks that ‘Chinese cemeteries with giant poppies growing produce the best opium’ (U 6.769-70). At another time in the same day, he muses that ‘I read in that Voyages in China that the Chinese say a white man smells like a corpse’ (U 6.982-3). Later, this book is listed in Bloom’s library: ‘Voyages in China by “Viator” (recovered with brown paper, red ink title)’ (U 17.1379). Again, he thinks of the ‘Chinese eating eggs fifty years old, blue and green again’ (U 8.869-70). In the cabman’s shelter the loquacious sailor tells Bloom that ‘I seen a Chinese one time [...] that had little pills like putty and he put then in the water and they opened up and every pill was something different. One was a ship, another was a house, another was a flower‘ (U 16.570-3). These far-flung thoughts expand the sense of space in the novel, undermining the feeling of Dublin as a bounded entity. But they also expand the sense of time. While Ulysses is defined, in part, by its careful plotting of journeys through a single day, this framework is also subverted by the awareness that there is another side of the world, where the day is unfolding differently. The utterly mundane sight of Boland’s bread van delivering fresh loaves causes Bloom to think of time being relative to geography: ‘Somewhere in the east: early morning: set off at dawn. Travel round in front of the sun, steal a day’s march on him. Keep it up for ever never grow a day older technically’ (U 4.84-6). And Molly Bloom, late in her day, is struck by the thought that ‘I suppose they’re just getting up in China now combing out their pigtails for the day’ (U 18.1540-1). We tend to think of globalization as a recent phenomenon and there is indeed much that is new in the pace and intensity of the global connections we","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123109990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"'The Retina of the Glance': Revisiting Joyce's Orientalism","authors":"Malcolm Sen","doi":"10.1353/DJJ.2008.0006","DOIUrl":"https://doi.org/10.1353/DJJ.2008.0006","url":null,"abstract":"How did James Joyce portray the ‘Orient’ in his works? The question may initially seem simplistic if we think of Ulysses. It is well known that not only did the author choose a Jewish man of Eastern European origins as the central character of the book but that he also made multiple references to Turkey, India, China, and other Eastern nations in it. This in turn might suggest that Joyce’s portrayal of the Orient is intricately woven with the wider themes of Ulysses: homecoming, history, language and literature, and is delimiting as a category to be analyzed in isolation. To an extent such a reading has some truth behind it. Joyce’s innovative narrative technique displays cultural heterogeneity even as it reconciles major binaries like Occidental and Oriental civilizations: ‘Jewgreek is greekjew. Extremes meet’ (U 15.2097-8). Joyce’s Orient, at least in Ulysses, could be construed as nothing more than a useful trope. The Orient in such analyses may initially be seen as a signifier of difference which ultimately seeks resolution in an acknowledgement of possible similarity through a ‘tolerant cosmopolitanism’. In the process, not only Jewishness but also the more distant cultures of the Indians and the Chinese may be harnessed.1 Often this democratic spirit of extremes reconciling is hidden behind larger themes. For example, Stephen Dedalus in ‘Proteus’ explicitly correlates the Orient with the Garden of Eden. Yet his reflections overall seem to be existential in import: ‘Spouse and helpmate of Adam Kadmon: Heva, naked Eve. She had no navel. Gaze. Belly without blemish, bulging big, a buckler of taut vellum, no, whiteheaped corn, orient and immortal, standing from everlasting to everlasting’ (U 3.41-4). However, Stephen’s commentary on the cyclic repetition of existence combining the motifs of birth and death, beginning and end, also enunciates an overt Orientalizing of existence; the Orient itself stands as a synonym for","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123030532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Niall Montgomery: An Early Irish Champion Of Joyce","authors":"Christine O’Neill","doi":"10.1353/DJJ.2008.0003","DOIUrl":"https://doi.org/10.1353/DJJ.2008.0003","url":null,"abstract":"Niall Montgomery was among the few eminent early Irish champions of James Joyce. A biographical synopsis shows a man of many talents and interesting contacts and sketches a context for his reading and an understanding of the great writer.1 Niall Montgomery was born in Dublin in 1915 and died in 1987, after a short illness. He attended school at the Irish College in Ring, Co Waterford, and Belvedere College, Dublin, and graduated in architecture from University College Dublin in 1938. Niall’s father, James Montgomery, was the Free State’s first film censor and a close friend of Arthur Griffith and Oliver St. John Gogarty, both of whom Niall Montgomery remembered clearly. From 1946, Montgomery worked as an architect in private practice in Dublin; until his death, he ran this office from 1974 onwards in partnership with his son, James. In the late 1930s, while working at the Office of Public Works, he was associated with Professor Desmond Fitzgerald in the awardwinning design of the airport buildings at Collinstown. Montgomery’s bestknown work includes the conversion of the Ormonde castle stables in 1963 to house the Kilkenny Design Centre, a project for which he was awarded the Conservation Medal of the Royal Institute of the Architects of Ireland, and the conversion of the marquess of Kildare’s house, Kilkea castle, for use as a hotel in 1966. He was a regular contributor to architectural journals and published many technical articles. Montgomery was passionately interested in Dublin and its preservation and restoration, and in this connection, he lectured, wrote, and appeared on television. From 1951, he served on the Council of the Royal Institute of the Architects of Ireland for an unprecedented thirty-one consecutive years and was its president in 1976-7. While studying architecture, Niall Montgomery had some art training, and later he took art classes privately. He showed considerable artistic talent as a sculptor and painter and had paintings, drawings, and installations accepted and exhibited at the Irish Exhibition of Living Art for six shows between 1964 and 1978. Montgomery had a one-man exhibition of paintings and drawings","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"349 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115464674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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