{"title":"The Continuity of Joyce's Logical Fictions","authors":"Sangam Macduff","doi":"10.1353/djj.2018.0008","DOIUrl":"https://doi.org/10.1353/djj.2018.0008","url":null,"abstract":"Abstract:This essay argues that there is a precise, mathematical notion of 'continuity' at work in 'Ithaca', which Joyce drew from Bertrand Russell's Introduction to Mathematical Philosophy (1919), and that this concept helps to clarify the kind of continuity we find in Joyce's 'logical fictions'. Joyce copied both 'continuity' and 'logical fictions' from Russell's Introduction, along with dozens of other phrases from the book, many of which he worked into 'Ithaca'. Joyce's use of Russell has been remarked on before, but this paper examines Joyce's notes from a logical point of view, observing that Russell's book is as much an introduction to logic as mathematics. Joyce's results in logic and mathematics at Belvedere and University College Dublin show that he had greater facility in these subjects than is usually assumed, which helps explain his interest in the logico-mathematical concepts Russell expounds. The way Joyce inserted terms like 'continuity' into 'Ithaca' (U 17.1065) suggests that he was using them in Russell's sense, but at the same time, the literary appropriation of these concepts indicates that Joyce was at least as interested in fictionalizing logic as in the logic of his fiction.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131446138","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":"James Joyce's Classical Passwords","authors":"L. Flack","doi":"10.1353/djj.2018.0006","DOIUrl":"https://doi.org/10.1353/djj.2018.0006","url":null,"abstract":"Abstract:This essay explores the tension between mastery and irreverence in Joyce's evolving representation of his reading of Greco-Roman classics in his first three major works: Dubliners, stephen Hero, and A Portrait of the Artist as a Young Man. These early texts show his movement from absorbing and imitating the classics to approaching writers such as Ovid as an enabling, productive site of creativity and experimentation. Over the course of Joyce's early writing, we see him throwing overboard notions of classical precision in favour of classical errors, which I call passwords, that serve to bind together ludic communities of rebellious readers who are joined not by knowledge, but rather by mistakes.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125964174","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 Dublin James Joyce Summer School, 2–8 July 2017","authors":"Shinjini Chattopadhyay","doi":"10.1353/djj.2017.0009","DOIUrl":"https://doi.org/10.1353/djj.2017.0009","url":null,"abstract":"","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128663742","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":"'haggiography in duotrigesumy': Saints, Sages, and the thirty-first International Eucharistic Congress, 21–6 June 1932","authors":"A. d’Arcy","doi":"10.1353/DJJ.2017.0003","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0003","url":null,"abstract":"Abstract:This article highlights how the Insular iconography of the thirty-first International Eucharistic Congress, 21–6 June 1932, which recast Ireland as an insula sanctorum, plays a significant role in framing the iconography of Finnegans Wake. The cultural ideology informing the congress, centred on the fifteenth centenary of Patrick's mission to Ireland (give or take a year or even a generation in reality). In contradistinction to Joyce's consistent vision of early medieval Ireland, the saints outflanked the sages at this 'internatural convention' (FW 128.27), which defined the Insular period as the wellspring of fifteen hundred years of evangelizing piety, represented by a ministerial chalice with a triskelion superimposed on 'the cross of Cong' (FW 399.280): the official seal of the congress. The Solemn Pontifical Mass of 26 June 1932 emphasized Ireland's unbroken covenant with her early medieval past, as one third of the population of the state, a paradisal host of 'a million souls' (Irish Press, 27 June 1932) descended on the 'fifteen acres' (FW 135.31) in the Phoenix Park. This most contested of imperial spaces, where Humphrey Chimpden Earwicker felt all too comfortable 'throughout his excellency long vicefreegal existence' (FW 3.30–1), was finally reclaimed as holy ground. Much of the population did believe that 'We have seen the Island of Saint and Scholar reborn in our midst' (Drogheda Independent, 2 July 1932). However, the idea that the glories of early medieval Ireland are reanimated in Saorstát Éireann as 'Saint Scholarland' (FW 135.19) is subjected to unremitting scrutiny by Joyce in his parodic recollections of the congress.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"309 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114003862","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":"Paul, Lucie, and Alexis Léon","authors":"L. Crispi","doi":"10.1353/DJJ.2017.0008","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0008","url":null,"abstract":"Abstract:This note commemorates the recent passing of Alexis Leopold Léon in Southsea, England on 29 June 2018. Born in Paris on 12 September 1925, Alex was one of the last surviving members of the inner Joyce circle during the final decade of the writer's life. It is also a sketch of the lives and legacy of his parents, Paul and Lucie Léon.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115170689","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":"'Pleasure or pain, is it?': Translating Ulysses into Persian","authors":"A. Pedramnia","doi":"10.1353/DJJ.2017.0001","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0001","url":null,"abstract":"Abstract:Translating a work that employs inventive literary techniques is an already arduous task, however, negotiating with a system of imposed censorship makes the process of translating and publishing increasingly more intricate. The Iranian Ministry of Cultural and Islamic Guidance declared my uncensored translation of Vladimir Nabokov's Lolita (which I had had to publish and disseminate underground) an obscene publication, prohibited further sales, and ordered its confiscation. The censorship of words, themes, and sometimes complete works is a common hazard for Persian translators and frames my current work translating Ulysses. In this essay, I explore the challenges of translating modernist works, like Lolita, F. Scott Fitzgerald's Tender Is the Night, as well as Ulysses, under a system of imposed censorship and discuss the methods I employ to evade it.When translating Ulysses, I have the additional challenge of transforming Joyce's unconventional literary style into a language that has a distinct culture, linguistic history, and syntactic structure. Joyce's experimental literary techniques, the novel's careful structuring, and its intricate wordplay prompts the Iranian translator to challenge the limitations of Persian prose. Therefore, I discuss the strategies I use to ensure that Persian readers encounter the translation in the same way that an English reader might interact with the source text.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116987150","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":"'And that's another reason that I left Old Skibbereen' or, The Eye of the Eagle, the Thrill of the Fight","authors":"S. Slote","doi":"10.1353/DJJ.2017.0006","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0006","url":null,"abstract":"Abstract:The basic story behind 'our watchful friend The Skibbereen Eagle' (U 7.734–5) and the Czar of Russia is a well-worn piece of Irish myth; however, despite various efforts, the full story behind this bit of folk legend has never been fully clarified — until now.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131295279","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":"Parnell And James Joyce's Dubliners: Strategies Of Failure","authors":"F. Mcguinness","doi":"10.1353/DJJ.2017.0000","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0000","url":null,"abstract":"Abstract:This essay presents an argument that the significance of Joyce's relationship to Parnell and to the split in Parnell's lifetime (1890–1) continues to be underestimated. It proceeds from the premise that irrespective of the degree to which A Portrait of the Artist as a Young Man as a whole can be taken to be autobiographical, the Christmas dinner scene affords a stylized account — that is, sad to say, invented — of Joyce's boyhood exposure to the Parnell split. That is on the basis that it is a politically coherent and that Joyce never offered any other account of the origins of his Parnellism. The Parnellite allegiance in the split of Joyce's father and of his father's friend John Kelly who was the archetype of the selfless adherent of the Irish leader, opened the mind of the young Joyce to Parnell. Joyce, however, conveys through A Portrait that his commitment to Parnell was not derivative of his father's but was something he himself had decided upon. It considers the intersection of the account in A Portrait and the historical course of the split which is epitomized in the novel with a brilliant succinctness that contrives to be graphic.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121929741","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":"James Joyce, Minimalist","authors":"Maria-Daniella Dick","doi":"10.1353/DJJ.2017.0004","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0004","url":null,"abstract":"Abstract:This article begins by tracing a history of literary maximalism and minimalism: starting with John Barth and moving to the recent resurgence of interest in maximalism, it outlines how critical attention has consistently located these two positions in the writing of Joyce as maximalist, and Beckett as minimalist. It considers how these two positions are identified with particular philosophies of writing and, by using examples from across the Joycean corpus, suggests that Joyce has been misidentified as a philosophically maximalist writer. Analysing influential readings of Ulysses by Declan Kiberd and Leo Bersani, I contend that the writing of Ulysses challenges maximalist and humanist interpretations. Examining recent arguments on Joycean maximalism, it argues for a continuum, rather than an epochal break, between the writing of Joyce and Beckett, on the basis that the former challenges definitions of maximalism and minimalism in so far as the terms imply a coincidence between form and content. In turn, I propose that Joyce's language — and the position on language inscribed within his writing, which extends to a position on being — should be aligned with the values critically ascribed to minimalism. While acknowledging its stylistic excesses, I therefore claim that Joycean writing is divorced from totality or mastery and that it evinces a worldview concerned with incompletion rather than repletion.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131572982","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":"'Who Is My Neighbour?': Leopold Bloom and the Parable of the Good Samaritan","authors":"R. Russell","doi":"10.1353/DJJ.2017.0002","DOIUrl":"https://doi.org/10.1353/DJJ.2017.0002","url":null,"abstract":"Abstract:The question of what it means to be a good neighbour runs through Joyce's Ulysses. Its two central characters, Stephen Dedalus and Leopold Bloom, are often rebuffed by their ostensible neighbours — Stephen by Buck Mulligan and Haines, Bloom by a whole series of Dubliners — and gradually drift toward each other. They meet at the end of 'Oxen of the Sun', interact throughout the apocalyptic 'Circe' episode, and then the parabolic episodes of 'Eumaeus' and 'Ithaca'. Bloom acts truly neighbourly to Stephen in these episodes, and his actions here and earlier in encounters with others in the novel are depicted as re-enactments of the Good Samaritan parable, perhaps Jesus's most famous story of this kind in Scripture. Reading Ulysses anew, I argue, enables not only a fresh apprehension of its parabolic arc over three of its last four episodes, but also allows us to become involved, caring readers of the sort Joyce desired. How does Ulysses draw us to it, generate affection for it and its characters, perhaps even lead us into caring for the Other? In part, it achieves this care by teaching us to read affectively and affectionately through its reinscription of such narratives as the Good Samaritan parable. We might then perceive it anew as a warm and welcoming fiction that invites us into its world of 1904 Dublin, allowing us to linger on the relationship between Leopold Bloom and Stephen Dedalus, and to understand how they re-enact that parable, so that we might become readers who are hospitable in turn to these characters.","PeriodicalId":105673,"journal":{"name":"Dublin James Joyce Journal","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123814791","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}