JAMES JOYCE QUARTERLY最新文献

{"title":"The Meaning of a Word in A Portrait of the Artist as a Young Man","authors":"Norbert F. Lain","doi":"10.1353/jjq.2023.a927921","DOIUrl":"https://doi.org/10.1353/jjq.2023.a927921","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> The Meaning of a Word in <em>A Portrait of the Artist as a Young Man</em> <!-- /html_title --></li> <li> Norbert F. Lain (bio) </li> </ul> <blockquote> <p>The figure of woman as she appears in the liturgy of the church passed silently through the darkness: a whiterobed figure, small and slender as a boy and with a falling girdle. Her voice, frail and high as a boy's, was <strong>[End Page 127]</strong> heard intoning from a distant choir the first words of a woman which pierce the gloom and clamour of the first chanting of the passion:</p> <p>—<em>Et tu cum Jesu Galilæo eras</em>. [You too were with Jesus the Galilean.]</p> <p>And all hearts were touched and turned to her voice, shining like a young star, shining clearer as the voice intoned the proparoxyton and more faintly as the cadence died.¹</p> </blockquote> <p>The word \"proparoxyton\" has puzzled readers. \"Proparoxytone,\" spelled with a final <em>e</em>, is a technical term that means \"having an acute accent on the antepenult in classical Greek.\"² This word is also used more generally to describe a word in any language that is accented on the antepenult, the third syllable from the end in a word. A word accented on the penult, the next to last syllable in a word, is said to be \"paroxytone,\" while a word accented on the ultima, the final syllable, is called \"oxytone.\"</p> <p>Scholars have encountered a problem when they have tried to relate Joyce's word \"proparoxyton\" to the sentence \"<em>[e]t tu cum Jesu Galilæo eras</em>.\" Students of Latin know that a Latin word of more than two syllables is accented on the penult if that penult is heavy (by virtue of containing a long vowel, a diphthong, or a short vowel followed by two or more consonants), but if the penult is light (by virtue of containing a short vowel followed by fewer than two consonants), the word is accented on the antepenult (compare <em>a-mā′-vī</em> and <em>mi′- se-rum</em>, respectively). <em>Galilæo</em> is the only word in the Latin sentence that contains more than two syllables, and it has therefore been taken to be the only possible referent of \"proparoxyton.\"</p> <p>As indicated above, the term \"proparoxytone\" is applied to a word that is accented on the antepenult. Is \"<em>Galilæo</em>\" accented on the antepenult? At least one commentator, Don Gifford, has claimed that it is. He divides \"<em>Galilæo</em>\" into five syllables and accents it as follows: <em>Ga-li-la′-e-ō</em>.³ By this analysis, <em>Galilæo</em> is \"the proparoxyton\" to which Joyce refers.</p> <p>It is useful to know, however, that in the Roman altar missals from which priests read the words of the Latin Mass in Joyce's day, all words of more than two syllables were written with accent marks for the benefit of priests who were unable to master the rules of Latin accentuation. I have looked at a number o","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141153235","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}

{"title":"Clearing Up Other Mysteries in Joyce's Ulysses: Slote, Mamigonian, and Turner's Literary Detective Work Yields More Gems","authors":"Robert J. Seidman","doi":"10.1353/jjq.2023.a914627","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914627","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Clearing Up Other Mysteries in Joyce’s <em>Ulysses</em>: <span>Slote, Mamigonian, and Turner’s Literary Detective Work Yields More Gems</span> <!-- /html_title --></li> <li> Robert J. Seidman (bio) </li> </ul> <em>ANNOTATIONS TO JAMES JOYCE’S “ULYSSES,”</em> by Sam Slote, Marc A. Mamigonian, and John Turner. Oxford: Oxford University Press, 2022. xlvi + 1367 pp. $165.00 cloth. <blockquote> <p>“Notes are necessary, but they are necessary evils.”</p> Samuel Johnson¹ </blockquote> <p><strong>I</strong>n his introduction to <em>Pale Fire</em>, Vladimir Nabokov’s 1962 hilarious, heartbreaking novel, the narrator Charles Kinbote offers these instructions to the reader: “Although those notes . . . come after the poem, the reader is advised to consult them first and then study the poem with their help, rereading them of course as he goes through its text, and perhaps, after having done with the poem, consulting them a third time so as to complete the picture.”² Nabokov closes Kinbote’s imperious directives to his readers by concluding: “To this statement my dear poet would probably not have subscribed, but, for better or worse, it is the commentator who has the last word” (29).</p> <p>Thus, Nabokov seems to defend the use of footnotes, though some readers claim his massive particularity gets in the way of appreciating the novel. I disagree. Why? Because often an apparently minute characteristic or seemingly innocent detail can jolt the reader’s expectations, adding layers of meaning, irony, humor, and buoyancy. James Joyce delighted in giving slight twists to his kaleidoscopic vision, presenting new angles of existing literary, theological, historical, and personal assumptions. For instance, there are imposters in his otherwise unexceptional massive lists of saints: Molly Bloom, for instance, appears as “S. Marion Calpensis” in “Cyclops.”³ In the same list, the vicious cur Garryowen is elevated to “S. Owen Caniculus,” as in “canine” (<em>U</em> 12.1696). During our work, Don Gifford and I developed noses able to sniff out many of the insider jokes and covert allusions.⁴ Clearly, the trio of Sam Slote, Marc A. Mamigonian, and John Turner, the current annotators, enjoyed a similar learned instinct.</p> <p>If Stephen Dedalus has “much, much to learn” (<em>U</em> 7.915), so do I, the surviving early annotator. The new <em>Annotations to James Joyce’s “Ulysses”</em> has a great deal to teach to this Joyce buff. The scholarly <strong>[End Page 607]</strong> work here offers insights into Joyce’s intentions and tracks the precise movements of his supple, monumentally well-stocked mind. The handsome, if overweight, volume (1367 pages) offers deeply knowledgeable readings of Joyce’s notebooks and letters, peeks into the multiple drafts of <em>Ulysses</em>, and—what was hugely impressive to me—presen","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680430","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}

{"title":"Digital Art in Ireland: New Media & Irish Artistic Practice ed. by James O'Sullivan (review)","authors":"Elyse Graham","doi":"10.1353/jjq.2023.a914632","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914632","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Digital Art in Ireland: New Media &amp; Irish Artistic Practice</em> ed. by James O’Sullivan <!-- /html_title --></li> <li> Elyse Graham (bio) </li> </ul> <em>DIGITAL ART IN IRELAND: NEW MEDIA &amp; IRISH ARTISTIC PRACTICE</em>, edited by James O’Sullivan. London: Anthem Press, 2021. xv + 147 pp. $125.00 cloth, $40.00 ebook. <p><strong>I</strong>reland is a place for poetry. A love of words pervades the culture of the Green Isle, from the literary firmament of W. B. Yeats and Seamus Heaney down to such celebrated features of everyday life as pub banter, the inspired insult, the storytelling session. After spending a happy spell in Ireland a few years ago, I ended the trip with a cab ride to Dublin Airport in the early hours of the morning. I did my best to keep up a friendly chat with the cabdriver despite being half-comatose. When he asked about the weather, I said, “I haven’t seen the face of the sun in five days.” “Oh, <em>there</em> you are,” he said, as if I could not be confirmed as alive until I used a metaphor.</p> <p>A new book edited by James O’Sullivan, <em>Digital Art in Ireland: New Media &amp; Irish Artistic Practice</em>, asks about the place of new media in the <strong>[End Page 645]</strong> future of Irish poetry—and Irish art more broadly. The nine essays in the collection each offer a different vantage on the emerging realm of digital art in a country that both takes tradition seriously and understands tradition as (to quote Joyce) a nightmare from which we are trying to awake. The digital present is a buzzing, blooming, beeping abundance, with no less will than the analog past to find ways to transform talk into song.</p> <p>In the introduction, O’Sullivan explores the quiddity of digital art, which he defines as art that could not exist without computational intervention. The scholarly land rush to explore and theorize this new art form has resulted in a proliferation of names: “new media art, electronic art, computational art, net art, or screen-based art.” But the impulse to establish a name and a canon has often led to the neglect of digital art in areas that were once treated as merely regional, including Ireland. “If Ireland does have a thriving community of digital artists,” O’Sullivan says, by way of motivating the chapters that follow, “they are generally being ignored by scholars and critics” (3).</p> <p>EL Putnam examines a group of artists who use digital art to interrogate Irish constructions of the maternal body. Irish motherhood has never lacked ideological icons, as O’Sullivan notes, from Kathleen Ní Houlihan to the Virgin Mary to “Mother Ireland” herself. The digital artists in Putnam’s chapter remake the maternal body using twenty-first-century materials. For example, Aideen Barry uses stop-motion video to merge herself—an extended organism—with the apparatu","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680432","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}

{"title":"On the Distinctions Between Spoken and Written Language in A Portrait of the Artist as a Young Man","authors":"Frank Leahy","doi":"10.1353/jjq.2023.a914616","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914616","url":null,"abstract":"<p><p>Abstract:</p><p>Figures as diverse as Samuel Beckett and Marshall McLuhan have lauded Joyce for his unusual awareness of the distinct conventions and characteristics of language as it occurs in different forms (primarily spoken and written). Such commentary usually focuses on <i>Ulysses</i> and <i>Finnegans Wake</i>. While more formally restrained than Joyce’s two greatest works, <i>A Portrait of the Artist as a Young Man</i> shows Joyce forging the philosophy and aesthetic which consciously treats language in these different forms, implicitly (through, for example, the strategies he develops to represent sound) and explicitly (through, for example, ruminations on the properties of writing and speech). This is shown not least by the fact the book begins not (as is sometimes claimed) at the beginning of Stephen’s life, but at the beginning of his linguistic life, and from the outset uses a variety of print-oriented techniques (such as italicization, indentation, and ellipsis points) to represent the phonic world. This implicitly demonstrates a further distinction, also crucial to Joyce’s later work, not only between speech and writing, but between handwriting and print. The distinction also looms large in <i>A Portrait</i>, which at various times references the manual in a way that emphasizes the labored means of production of the yet-to-be published writer, but also is written very distinctly (as Hugh Kenner observes about <i>Ulysses</i>), for “technological space” or “printed pages for which it was designed from the beginning.” It is notable in this context that Joyce rejected one strategy in particular for representing the sounds of speech within the visual medium of writing: non-standard spelling. He experimented with a more phoneticized style in <i>Stephen Hero</i>, but this is largely abandoned by the time it becomes <i>A Portrait</i>. We are left with one notable dialectal spelling: “shite.” The deployment of this word speaks volumes about Joyce’s journey from sound to print.</p></p>","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680490","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}

{"title":"Current JJ Checklist (147)","authors":"William S. Brockman","doi":"10.1353/jjq.2023.a914622","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914622","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Current JJ Checklist (147) <!-- /html_title --></li> <li> William S. Brockman </li> </ul> <p>Editorial Team, <em>James Joyce’s Correspondence:</em> &lt;https://jamesjoycecorrespondence.org.in&gt;</p> <p>We draw your attention especially to Fritz Senn’s extensive collection of commentaries (<em>Ulysses Seminar</em>), a series of multimedia presentations available online. Thanks to our contributors: Marianna Alonso, Sabrina Alonso, Valérie Bénéjam, Roy Benjamin, Christian Buess, Michiyo Goda, Jonathan Goldman, Patrick O’Neill, Friedhelm Rathjen, and Fritz Senn. The entire retrospective <em>James Joyce Checklist</em> compiles citations from earlier issues of <em>JJQ</em> and provides extensive coverage of editions, criticism, and research dating back to Joyce’s lifetime. This resource is available at https://norman.hrc.utexas.edu/jamesjoycechecklist/. Please send contributions or suggestions to your bibliographer at &lt;w.s.brockman@gmail.com&gt;.</p> <h2>JJ WORKS</h2> (<em>The Cambridge Centenary Ulysses</em>. 2022.) [Revs.: William M. Chace, <em>Common Knowledge</em> 29, i (January 2023): 118–20; Laura Gibbs, <em>English Studies</em> 104, iii (2023): 570–72.] <p>Google Scholar</p> <em>Finnegans Wake, Book I Chapter 1</em>. Toronto: One Little Goat Theatre Company/XL Media, 2023. video, 1 hour, 26 minutes, 10 seconds. https://vimeo.com/835247710/c58ab2ed4e. [Reading before an audience by Richard Harte; directed and edited by Adam Seelig.] <p>Google Scholar</p> <em>Cartas (1900–1920)</em>. Ed. Diego Garrido. Translated by Diego Garrido. Madrid: Páginas de Espuma, 2023. 1032 pp. ISBN 978-84-8393-320-6. [Spanish translation of Joyce’s letters, drawn from <em>Letters I, II, III</em>, <em>James Joyce’s Correspondence</em>, and other sources. Illustrations by Arturo Garrido. Rev.: Anna Caballé, “Una fiesta de la sinceridad en tiempos de pose,” <em>El País</em> (20 May 2023): 8.] <p>Google Scholar</p> <em>Giacomo Joyce = Džakomo Džojs</em>. Translated by Mariya Girevska. Skopje: M. Girevska, 2023. 92 pp. ISBN 978-608-66986–0-7. [Macedonian translation with English on facing pages.] <p>Google Scholar</p> <em>Dubliners</em>. Translated by Lia Imerlishvili. Tbilisi: Artanuji, 2019. 278 pp. ISBN 978-9941-478-87-1. [Georgian translation.] <p>Google Scholar</p> <em>Ulise</em>. Ed. Erika Mihálycsa and Rareş Moldovan. Translated by Rareş Moldovan. Bucharest: Polirom, 2023. 810 pp. ISBN 978-973-46-9246-0. [Romanian translation of <em>Ulysses</em>.] <p>Google Scholar</p> <h2>SECONDARY SOURCES</h2> <em>ABEI Journal</em> 25, i (June 2023). https://www.revistas.usp.br/abei/issue/view/12843. [Special issue: James Joyce’s <em>Ulysses</em>. Contents: Mick Greer, “‘Telemachising’ the Poor Old Woman: <em>Cathleen ni Houlihan</em> ‘Restaged’ at the Martello Tower,” 13–27; S. E. Gontarski, “Wilder’s Joyce: Inspiration, Borrowing, Appropriation, Plagiaris","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138693297","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}

{"title":"Reading the City: Cultural Memory and the Representation of Colonial Dublin in James Joyce's Ulysses","authors":"Maximilian Feldner","doi":"10.1353/jjq.2023.a914619","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914619","url":null,"abstract":"<p><p>Abstract:</p><p>James Joyce once claimed that his <i>Ulysses</i> (1922) could serve as a basis for a future rebuilding of Dublin. The irony in this regard is that Dublin did indeed irrevocably change during the period he was writing the book. Besides the natural changes a city undergoes in two decades, the Irish struggle for independence during which large parts of the city center were shelled to rubble contributed to the fact that the Dublin Joyce knew had largely disappeared by 1922. With this in mind, I read <i>Ulysses</i> as a site of memory and investigate the role cultural memory plays in the way Dublin is depicted in the novel. There are three ways in which memory is significant in this context. First, rendering his characters’ stream of consciousnesses as they make their ways through Dublin, Joyce’s psychological realism offers, among other things, a literary representation of individual memory. Second, this literary Dublin is a remembered city, based on the recollections and imagination of both Joyce, who had left it years before writing his novel, and the readers who are required to fill numerous gaps and blanks in the vague and unspecific depiction of the cityscape. Third, the novel serves as a mnemonic device that shapes the collective memory of turn-of-the-century Dublin. Regarding the shape and meaning of this remembered Dublin, I will focus on its representation as a colonial city and the ways the political situation is inscribed in the text.</p></p>","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680429","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}

{"title":"Penelope Says","authors":"Robert Berry","doi":"10.1353/jjq.2023.a914626","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914626","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Penelope Says <!-- /html_title --></li> <li> Robert Berry </li> </ul> <br/> Click for larger view<br/> View full resolution <p></p> <p><strong>[End Page 605]</strong></p> <br/> Click for larger view<br/> View full resolution <p></p> <p><strong>[End Page 606]</strong></p> Copyright © 2023 University of Tulsa ... </p>","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680491","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}

{"title":"Ulysses: The Second Century! A 2023 Bloomsday Report","authors":"Richard J. Gerber","doi":"10.1353/jjq.2023.a914613","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914613","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> <em>Ulysses:</em><span>The Second Century! A 2023 Bloomsday Report<br/> A second century for <em>Ulysses</em> has begun, and readers are still arguing about the book!</span> <!-- /html_title --></li> <li> Richard J. Gerber </li> </ul> <p>Bloomsday 2023 was a revelation as publicity flowing from last year’s centennial celebration generated greater than usual interest and discussion of Joyce’s novel. In fact, on the heels of a Covid-truncated 2022 Symposium in Dublin, this year’s renewed attention found more people than ever taking the plunge and reading <em>Ulysses</em> as well as Joyce’s other works in a widening gyre . . . and <em>that</em> assures his immortality!</p> <p>A variety of new and returning in-person and online Bloomsday-related events sprang up at worldwide locations this year, an illustration of the ever more positive temper of our post-pandemic times; it was a kind of revived <em>Spiritus Mundi</em>. For instance, on 7 June, the Rosenbach Museum and Library in Philadelphia hosted a costumed 1920s Parisian Soirée Toasting of Joyce and Sylvia Beach. In Cork, Ireland, a two-day celebration of Joyce and his connections with that city was observed on 16 and 17 June. In Dublin, <em>Old Ghosts,</em> produced by the Irish National Opera Company and streamed via OperaVision on Bloomsday, imagined Joyce in conversation with Nora Barnacle, Homer, and Penelope as he developed the character of Molly Bloom. And in New York, the Joyce Society sponsored its third annual festive reading of <em>Ulysses</em> outside the Dive, a restaurant on Manhattan’s Upper West Side. This year’s theme, “A Shout in the Street” (<em>U</em> 2.386), featured Elevator Repair Service, a creative performance troupe, which presented scenes from “Calypso” and “Lestrygonians.” Amsterdam Avenue was nearly blocked off as hundreds watched Bloom tear into his “rolled pith of bread” and Gorgonzola (<em>U</em> 8.850).</p> <p>This year’s big news stories on the big day came via the internet. New York State announced a $10 million grant in support of construction of the University of Buffalo’s James Joyce Museum. The new exhibition space, 5,000 square feet, will provide greater visibility and access to the university’s more than 10,000 pages of Joyce’s working papers, notebooks, manuscripts, photographs, correspondence, portraits, publishing records, ephemera, and personal artifacts, as well as his private library and a complete collection of significant Joyce criticism. Watch this space for progress reports on the project and opening day celebrations. <strong>[End Page 445]</strong></p> <p>The Joyce Museum story burned up the “tubes of the internet,” as my father used to say. This was so much the case that Bloomsday news of the offering for sale of Stanislaus Joyce’s inscribed copy of his brother’s first Shakespeare edition of <em>Ulysses</em> was almost buri","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680426","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}

{"title":"Contributors","authors":"","doi":"10.1353/jjq.2023.a914634","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914634","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Contributors <!-- /html_title --></li> </ul> <p>VALÉRIE BÉNÉJAM teaches English literature at Nantes University. A former student of the École Normale Supérieure, she has written extensively about Joyce. She has co-edited with John Bishop a collection of articles on the issue of Joyce’s representations, across his work, of spatiality and space: <em>Making Space in the Works of James Joyce</em>. A collection on Joyce and cognitive sciences, co-edited with Sylvain Belluc, <em>Cognitive Joyce</em>, was published with Palgrave-Macmillan. She is currently writing a study of the role of theater and drama in Joyce’s fiction entitled <em>Joyce’s Novel Theatre</em> and working on a new edition of <em>Dubliners</em> that will incorporate its original punctuation for dialogue. She has twice been an elected trustee of the International James Joyce Foundation, serves on the editing board of several specialized journals, and is the co-general editor of <em>European Joyce Studies</em>.</p> <p>ROBERT BERRY is the Philadelphia-based cartoonist behind <em>ULYSSES</em> “seen,” the ambitious project aimed at fully adapting Joyce’s novel into a visual learning platform. His artworks have been shown in Bloomsday celebrations all over the world, where they have helped to unite Joyce devotees both new and learned. He teaches at the University of Pennsylvania and occasionally gets the chance to make pretty pictures.</p> <p>MIRANDA DUNHAM-HICKMAN specializes in modernist literature at McGill University, where she is Associate Professor of English and Director of the Poetry Matters initiative. Recent work engages the film criticism of Iris Barry and modernist poet H.D.’s feminist translations of Euripides; a co-authored essay on H.D. and Euripides appears in the <em>Classical Receptions Journal</em>. She has also co-edited, with Lynn Kozak, <em>The Classics in Modernist Translation</em>. Other recent work includes essays on the critic Q. D. Leavis and archives, Ezra Pound’s late <em>Cantos</em>, and the Vorticist painters Jessie Dismorr and Helen Saunders. She is the author of <em>The Geometry of Modernism;</em> editor and author of <em>One Must Not Go Altogether with the Tide: The Letters of Ezra Pound and Stanley Nott</em>; and co-editor of <em>Rereading the New Criticism</em>. Current projects address deep literacy and the female public intellectual in interwar Britain.</p> <p>MAXIMILIAN FELDNER holds a doctorate in English and American Studies from the University of Graz and has published the book <em>Narrating the New African Diaspora: 21st Century Nigerian Literature in Context</em> as well as articles in the fields of English-language narrative fiction, film, and popular culture.</p> <p>LEAH FLACK is Professor of English at Marquette University and a comparative literature scholar interested in classical reception studies, in particular modern a","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680489","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}

{"title":"\"Wandering Rocks\" and the Politics of Social Complexity","authors":"Emery Jenson","doi":"10.1353/jjq.2023.a914617","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914617","url":null,"abstract":"<p><p>Abstract:</p><p>Joyce famously composed the tenth episode of <i>Ulysses</i>, “Wandering Rocks,” with painstaking reference to a map of Dublin, becoming, in his words, “a scissors and paste man.” This essay asks—what might it mean to become scissors and paste readers? Radicalizing the form of repetition and interpolation in “Wandering Rocks,” this study conducts an experimental reading of the episode to show how “Wandering Rocks” might intervene on contemporary debates about the structure and representability of the social. Reading “Wandering Rocks” against recent scholarship on the representability of social space, especially that of Bruno Latour and Fredric Jameson, this essay suggests that “Wandering Rocks” provides a thesis regarding the interplay of signs, traces, and complex governing structures that lends nuance to studies of the social, especially regarding the notion of social totality.</p></p>","PeriodicalId":42413,"journal":{"name":"JAMES JOYCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138680488","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}