JAMES JOYCE QUARTERLY最新文献

{"title":"Hebrew Language Expressions, Phrases, and Terms in Ulysses","authors":"Andrei Herzlinger","doi":"10.1353/jjq.2023.a914623","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914623","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 --> Hebrew Language Expressions, Phrases, and Terms in <em>Ulysses</em> <!-- /html_title --></li> <li> Andrei Herzlinger (bio) </li> </ul> <p><strong>J</strong>ames Joyce, born and raised in Ireland, lived and worked for most of his creative life in Austro-Hungary, Switzerland, Italy, and France—all countries where English is not the native language. Knowing this, we are not surprised that Joyce skillfully uses words from other languages in <em>Ulysses</em>.¹ But Hebrew? Leopold Bloom is half-Jewish, and maybe Molly is too, so there is a good reason to assume that Hebrew words appear in the novel. In the end, however, a reader whose mother tongue is modern Hebrew, who was raised in Hebrew, and who has enough knowledge of the English language to read <em>Ulysses</em> from cover to cover will be left wondering how much Hebrew Joyce actually knew.</p> <p>Modern spoken Hebrew began to be used in Palestine on a large scale between 1904 and 1914, the same period during which Joyce started the work on <em>Ulysses</em>.² Joyce lived in Trieste from 1904, working as an English teacher at a Berlitz School. Trieste was a polyglot port city where Italian, German, Hungarian, Slavic, Yiddish, and many other languages were used. One of Joyce’s English students there from 1912 to 1915 was Moses Dlugacz, an ardent Zionist who was well known for his efforts to promote the teaching of Hebrew. It is possible that Dluglacz was one of the sources for Joyce’s knowledge and understanding of the Hebrew words and expressions embedded in the text of <em>Ulysses</em>. It is also possible that, while being taught religion in Dublin at the end of the nineteenth century, Joyce learned Biblical Hebrew. According to Ira B. Nadel, Joyce “may have also studied Hebrew.”³</p> <p>The following lexicographic list of Hebrew language expressions, phrases, and terms found in <em>Ulysses</em> may be useful for anyone trying to assess Joyce’s Hebrew language proficiency. A reader of <em>Ulysses</em> who is familiar with the Hebrew language will easily identify many of these words. The aim of this short note is to present only the expressions, phrases, and terms containing more than one word.</p> <p>The quotations from the Old Testament are copied from the original Hebrew text.⁴ The Hebrew transcript uses Latin characters. Most expressions appear only once in the novel and are generally in <strong>[End Page 585]</strong> “Circe”; the exception is “<em>Shema Israel</em>” that also appears in “Aeolus,” though in a truncated form (<em>U</em> 7.209, 15.3228). A reader familiar with Hebrew may recognize common words such as <em>Echad, Adonai, ani, Schorach, melek, Israel, Mahar, shalal, harimon, rakatech,</em> and <em>Shira</em> and can make an educated guess about their source. If the reader has a background in religious education and","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":"138680499","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":"Modernist Reformations: Poetry as Theology in Eliot, Stevens, and Joyce by Stephen Sicari (review)","authors":"John Whittier-Ferguson","doi":"10.1353/jjq.2023.a914628","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914628","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>Modernist Reformations: Poetry as Theology in Eliot, Stevens, and Joyce</em> by Stephen Sicari <!-- /html_title --></li> <li> John Whittier-Ferguson (bio) </li> </ul> <em>MODERNIST REFORMATIONS: POETRY AS THEOLOGY IN ELIOT, STEVENS, AND JOYCE</em>, by Stephen Sicari. Clemson, South Carolina: Clemson University Press, 2022. 277 pp. $143.00 cloth. <p><strong>S</strong>tephen Sicari’s earnest study of T. S. Eliot, Wallace Stevens, and James Joyce has an agenda: “I want to tell a new story about high modernism, one that deals with the period’s need for a reformation of theology” (101). Encouraged by the French priest Jean Sulivan (1913–1980) to rethink the vocabulary and the conceptual limitations of “conventional theology” (3), Sicari finds in the work of these three modernists “the most thoroughgoing and comprehensive efforts to reform religion for their time” (5). He argues that “their entire body of work can be seen as motivated by the desire to reform and renew religious experience” (6). “[A]rt is essential to the reformation of religion in the modernist period” (34), Sicari believes, and his chosen writers, convinced of Christianity’s “need to reform itself by engaging honestly with the religions of the people it had colonized,” turn to the East for their expansive, pluralist revisions (101–02). Sustained by the writings of Catholic, evangelical, and interfaith authors (for instance, David Tracy, Raimon Panikkar, Karen Armstrong, John Hick, and John C. Cobb Jr.), Sicari emphasizes Buddhist aspects in these modernists’ works. In a passage about Eliot’s poetry, closing with a quotation from Cobb, Sicari reveals the programmatic urgency of his project (the first-person-plural pronoun here deserves notice):</p> <blockquote> <p>it is the engagement with the East that poses both the challenge and the opportunity we must grasp. What we one hundred years later share with Eliot is the need to continue the reformation of Christianity through an encounter with Buddhism: “The Buddhization of Christianity will transform Christianity in the direction of greater and deeper truth.”</p> 121)¹ </blockquote> <p>Buddhist aspects of these authors’ works have been noted and written about before. What is different in Sicari’s approach is his premise that his manifest desires for the reform and renovation of the Christian church today are shared by his readers as well as by these three writers and that twenty-first-century readers should learn from them how a “Buddhized Christianity” can aid in that renovation (107).</p> <p>This approach works with modest success when applied to Stevens and Eliot, even when the proportions of each poet’s work (Stevens) or the principles of his faith (Eliot) feel distorted by Sicari’s “Buddhized” Christian program: Stevens’s “lifelong project . . . was a religious <strong>[E","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":"138680422","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":"\"Your Friend If Ever You Had One\": The Letters Of Sylvia Beach To James Joyce ed. by Ruth Frehner and Ursula Zeller (review)","authors":"Miranda Dunham-Hickman","doi":"10.1353/jjq.2023.a914629","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914629","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>“Your Friend If Ever You Had One”: The Letters Of Sylvia Beach To James Joyce</em> ed. by Ruth Frehner and Ursula Zeller <!-- /html_title --></li> <li> Miranda Dunham-Hickman (bio) </li> </ul> <em>“YOUR FRIEND IF EVER YOU HAD ONE”: THE LETTERS OF SYLVIA BEACH TO JAMES JOYCE</em>, edited by Ruth Frehner and Ursula Zeller (Boston: Brill Rodopi, 2021), xxxiv + 329 pp. $146.00 cloth, ebook. <p><strong>T</strong>his astutely annotated volume at last provides a robust capture of the other side of the correspondence published in 1987 by editors Melissa Banta and Oscar A. Silverman, <em>James Joyce’s Letters to Sylvia Beach, 1921–1940</em>.¹ “<em>Your Friend If Ever You Had One</em>,” housing letters from Beach to both Joyce and, starting in the 1930s, Paul Léon—Beach’s successor in the informal role of Joyce’s secretary and administrator—is a windfall made possible in large part through a bequest from Hans E. Jahnke, stepson to Joyce’s son Giorgio. Roughly three-quarters of these letters derive from this donation, with additional letters supplied to round out the collection from the University at Buffalo, the National Library of Ireland, and Princeton University. <strong>[End Page 632]</strong> Of the edition’s 145 letters, 131 are published for the first time. The compilation offers a vivid portrait in letters of Beach, the owner of the famous Parisian bookshop Shakespeare and Company, tracing her evolving working relationship with Joyce through its periods of flourishing, tension, and eventual diminution in the 1930s, as Beach ceded her place as Joyce’s primary assistant to Léon.</p> <p>The moment of the earlier Banta and Silverman correspondence indicates a context important to discerning the significance of this new collection. Around 1990, just before the emergence of the New Modernist Studies, scholarly attention increasingly turned to the cultural workers who provided supportive infrastructure for the development and publication of modernist writing—such as editors, publishers, and patrons—who oversaw and ran what Lawrence Rainey called the “institutions of modernism.”² With a new view-finder trained on textual production, there followed a decade of dispelling the myth of the modernist as solitary genius, engaging with the socio-material and collaborative realities of textual production and dissemination. In welcome ways, this line of work upended the lore around the “men of 1914”—Joyce, Ezra Pound, T. S. Eliot, Wyndham Lewis—as primary movers of modernism, with their flashing eyes and floating hair, training attention instead on the mundane actualities needed to make things go, elevating as important agents of textual production many players in the field traditionally considered auxiliary, such as editors and publishers.</p> <p>In such scholarship, the spotlight frequently ","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":"138680503","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":"A Sermon by Father Conmee","authors":"Jonathan Morse","doi":"10.1353/jjq.2023.a914624","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914624","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 --> A Sermon by Father Conmee <!-- /html_title --></li> <li> Jonathan Morse (bio) </li> </ul> <p>John S. Conmee, S.J. (1847–1910) figures under his nonfictional name and vocation in <em>A Portrait of the Artist as a Young Man</em> and <em>Ulysses</em> and was nonfictionally characterized by Joyce as “a bland and courtly humanist.”¹ On 24 February 1900, it was that Father Conmee who could have been spotted slipping in black through the colorful columns on page 4 of the <em>Freeman’s Journal</em>. There, just above the notice of Father Conmee’s impending “Appeal for the Poor,” an exhibition space was advertising some of Jack Yeats’s views of Ireland, and in the column immediately adjacent, the fruiterer J. Thornton of 63 Grafton Street solicited business. On 16 June 1904, Blazes Boylan was to drop by among the “ripe shamefaced peaches,” look approvingly down the counter-girl’s dress, and order something nice for Molly.² As the advertiser who took out a large display might have put it on 24 February 1900, variety like that is the Worcestershire sauce of life.</p> <br/> Click for larger view<br/> View full resolution <p></p> <p><strong>[End Page 593]</strong></p> <p>In the midst of the same Dublin-bustling life on 4 October 1897, the <em>Journal</em> reported on another charity sermon by Father Conmee, and that item is of specific Joycean interest for two reasons: it was delivered on behalf of Dublin’s National Maternity Hospital, the setting for “Oxen of the Sun,” and it was published in full. Because it is formatted on the page as a single paragraph, I suppose it may have been set in type by a compositor working mechanically from Father Conmee’s manuscript and making no edits beyond replacing direct quotations in the present tense (“It is my duty to speak to you today”) with a paraphrase in the past tense (“He said it was his duty to speak to them that day”). If that is the case, reversing the editorial changes as we read will deliver into our hands a direct transcript of a voice speaking one of the languages of Joyce’s Dublin—specifically, the language uttered by one of Joyce’s characters just before it was translated into Joyce by Joyce. In that language, it reads like the following inclusions.</p> Jonathan Morse <p>JONATHAN MORSE writes about photography and language at jonathanmorse.blog.</p> <p></p> <h2>NOTES</h2> <p>1. Richard Ellmann, <em>James Joyce</em>, rev. ed. (New York: Oxford Univ. Press, 1982), p. 29.</p> <p>2. James Joyce, “<em>Ulysses”: The Corrected Text</em>, ed. Hans Walter Gabler et al. (New York: Vintage Books, 1986), 10.305–06.</p> <h2>________</h2> <br/> Click for larger view<br/> View full resolution <p></p> <br/> Click for larger view<br/> View full resolution <p></p> <br/> Click for larger view<br/> View full resolution <p></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":"138680667","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":"Reintroducing the Sirens' Fugue","authors":"Elvin Meng","doi":"10.1353/jjq.2023.a914620","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914620","url":null,"abstract":"<p><p>Abstract:</p><p>This essay revisits the difficulty around “musical” interpretations of the “Sirens” episode of <i>Ulysses</i>. It argues that reading the episode through a looser notion of the fugue than previously suggested can contribute significantly to the understanding of the episode’s texture, narrative mediation, and renderings of affect, without committing to the establishment of formal correspondences between literary and fugal structures that more literal “fugal” readings of the episode tend to require. Furthermore, the essay suggests that the “fugal” quality of the episode is best understood as an extra-diegetic semiosis-through-composition that draws upon, interacts with, and at times perverts the language of diegetic characters, and that Bloom’s journey to the musical world of the Sirens is best understood as modulations in modes of meaning-making throughout the episode that lean into or move away from this second-level, musical semiosis.</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":"138693102","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":"Induction, Deduction, and Visual-Spatial Perception: The Finnegans Wake Intelligence Test","authors":"Elena Violaris","doi":"10.1353/jjq.2023.a914621","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914621","url":null,"abstract":"<p><p>Abstract:</p><p><i>Finnegans Wake</i> makes intense demands on its readers’ intellectual energies, and I propose that the text brings our cognitive reasoning capacities to the foreground by putting them to work. In this, the <i>Wake</i> resembles an intelligence test, calling upon abilities of deduction, induction, and visual-spatial perception. Using deduction, readers draw upon existing linguistic paradigms in order to make sense of Joyce’s neologisms, while induction involves identifying patterns created by the text itself. Moreover, “characters” such as HCE are often denoted only by the appearance of these letters, activating pattern-recognition skills. Nevertheless, identifying these references is not the end-point of studying the <i>Wake</i>, since dissecting Joyce’s text into an inventory of allusions would dissolve its artistry. Instead, discerning familiar elements in Joycean innovations is a fluid and ongoing process, where the manifestation of one’s own cognitive processes constitutes an aesthetic effect.</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":"138680493","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 New Stars in Ulysses","authors":"Peter D. Usher","doi":"10.1353/jjq.2023.a914618","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914618","url":null,"abstract":"<p><p>Abstract:</p><p>The Ghost in William Shakespeare’s <i>Hamlet</i> appears from the direction of a bright new star, which James Joyce in <i>Ulysses</i> identifies as the New Star of 1572, a supernova in the constellation Cassiopeia. In the book, Stephen Dedalus asserts that this celestial outburst occurs about the time of Shakespeare’s birth, but Shakespeare was born eight years earlier. This essay studies this New Star and the three other stellar outbursts for which <i>Ulysses</i> supplies information. It posits that Joyce creates the eight-year discrepancy intentionally and that, suitably parsed, the discrepancy does not exist. Also, it suggests that the assumed coincidence of the apparition of T Coronae Borealis nova on the birthdate of Leopold Bloom matches the seemingly erroneous coincidence of dates of the New Star of 1572 and the birth of Shakespeare, and that the text suggests that Joyce proclaims Shakespeare more intelligent than Bloom. The conclusions reached in this essay are in agreement with Bloom’s relationship to Shakespeare. We suggest that Joyce deliberately picks the star named delta of Cassiopeia over two more suitable choices for locating the direction of the New Star.</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":"138680661","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":"Preparatory to Something Else","authors":"Robert Spoo","doi":"10.1353/jjq.2023.a914612","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914612","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 --> Preparatory to Something Else <!-- /html_title --></li> <li> Robert Spoo (bio) </li> </ul> <p>It seems strange to be saying farewell to the <em>JJQ</em> so soon after rejoining it as co-editor. It’s even stranger to be saying farewell for the second time. The first was a bit over twenty years ago when I left the University of Tulsa (TU) to embark on a legal career. I had been editor for ten years when I took unpaid leave from TU to finish my law degree at the Yale Law School, where I continued to serve as editor of the <em>JJQ</em>. Then, having decided to accept a judicial clerkship in New York and to practice law, I left TU and the <em>JJQ</em> permanently, or so I thought. In 2008, I returned to TU as a law professor and (later and by courtesy) an English professor. Then, just recently, when after two decades of piloting the <em>JJQ</em> Sean Latham stepped away for other responsibilities at TU, I returned to the <em>JJQ</em> once more, this time as co-editor with my colleague in English here, Jeff Drouin. If all this zigging and zagging confuses you, you’re not alone.</p> <p>A few weeks ago, I accepted an endowed appointment in the English Department at Princeton University as Leonard L. Milberg ’53 Professor in Irish Letters. I’ll start in Spring 2024, but I suspect our full relocation as a family won’t take place until a bit later. It’s a wonderful opportunity for me to continue my engagement with Joyce and other modern authors and to be part of an extremely talented community of teachers and writers. I’ll be working with undergraduates and graduates alongside Maria DiBattista, Josh Kotin, and other brilliant scholars. I’ll also be striving to enhance the study of Irish literature and culture at Princeton and to add to the astonishing efforts of Walt Litz, Clair Wills, Paul Muldoon, Fintan O’Toole, and many others. I earned my Ph.D. in English at Princeton, so this will be a homecoming for me in a deeply satisfying way. The one thing I won’t be doing is teaching law students. I was once introduced at a MLA panel as having received my law degree from the “Princeton Law School,” but in fact Princeton has not had a law school since 1852 (a short-lived program of a few years).</p> <p>What Princeton does have are extraordinary opportunities for studying and teaching law in the contexts of politics, society, economics, literature, and culture. Many resident faculty, visiting faculty, and fellows pursue law there in its many settings and ramifications; and this multidisciplinary culture will be very congenial for someone like me who has worked at the intersection of law, <strong>[End Page 441]</strong> copyright, literature, and culture for more than twenty years now. I leave TU with gratitude for so many things that the Law College and the English Department have made possible for me. These include the resources that I had th","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":"138680665","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":"\"There is an art in lighting a fire\": A Report on the Dublin James Joyce Summer School 2023","authors":"Daniel Esmonde Deasy","doi":"10.1353/jjq.2023.a914614","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914614","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 --> “There is an art in lighting a fire”: <span>A Report on the Dublin James Joyce Summer School 2023</span> <!-- /html_title --></li> <li> Daniel Esmonde Deasy </li> </ul> <p>This year the Dublin James Joyce Summer School (DJJSS) returned to its traditional week-long program in the University College Dublin Newman House, 85–86 St. Stephen’s Green. In the mornings, summer-school speakers presented their papers in the elegant Old Physics Theatre of Richard Castle’s no. 85 (1735–1740), the room in which Stephen taught the dean of studies the meaning of that good Lower Drumcondra word “tundish.” After lunch in the Saloon, attendees either joined Sam Slote for the <em>Ulysses</em> seminar or Christine O’Neill for <em>Dubliners</em>. There was a variety of social activities in the evenings and weekends, including a reception in the National Library of Ireland, Kildare Street, with a welcome address in the Reading Room by the Director of the Library, Audrey Whitty; a trip to the Gate Theatre, Parnell Square East, to see a production of the musical <em>Fun Home</em> based on a graphic novel by Alison Bechdel; a walking tour of Joyce’s Dublin led by Monica Galindo Gonzalez; a visit to the Omphalos in Sandycove led by Anne Fogarty; and a convivial closing dinner in Baggot Street.</p> <p>Since 2019, Newman House has been home to the new Museum of Literature Ireland (“MoLI” for short, pronounced “Molly” after herself), a joint venture between the National Library of Ireland and University College Dublin. MoLI hosts a significant permanent Joyce exhibition, which includes important <em>Ulysses</em> and <em>Finnegans Wake</em> manuscripts, interactive audio-visual exhibits, and a first edition and complete braille edition of <em>Ulysses</em>, among much else. Summer-school attendees were given a tour of the Museum and addressed <strong>[End Page 447]</strong> by its Director, Simon O’Connor. The welcome presence of MoLI in Newman House strengthens and solidifies the connection between Joyce and that beautiful complex of buildings nestled on the Green.</p> <p>There were ten excellent presentations by speakers over the course of the week. Anne Fogarty’s (University College Dublin) opening lecture, “‘I cannot write without offending people’: The Composition and Reception of <em>Dubliners</em>,” encouraged us to remember that the book is a radical and innovative work in its own right and not merely an initial staging-post in Joyce’s artistic development. Fogarty began by highlighting Joyce’s conception of <em>Dubliners</em> as a political gesture, intended by Joyce to reflect the stagnation of Irish politics in the mid-1900s. She also described Joyce’s struggle to secure a publisher for the book, highlighting his “performative literary” correspondence with the publisher Grant Richards concerning its content. Finally, she demonstrated the radical ","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":"138680671","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":"A Note on a Nearly Forgotten Edition of Dubliners","authors":"Valérie Bénéjam","doi":"10.1353/jjq.2023.a914625","DOIUrl":"https://doi.org/10.1353/jjq.2023.a914625","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 --> A Note on a Nearly Forgotten Edition of <em>Dubliners</em> <!-- /html_title --></li> <li> Valérie Bénéjam (bio) </li> </ul> <p><strong>I</strong>n remembering the sad occasion of the passing of John Wyse Jackson in February 2020, I would like to spend some time reflecting on the ground-breaking <em>Illustrated Edition with Annotations</em> of <em>Dubliners</em> he co-edited with Bernard McGinley in 1993.¹ This edition has several unusual features, which make it one of the most original versions of <em>Dubliners</em> one could own; but one of its most remarkable peculiarities may be the history of its reception. It was reviewed in several mainstream newspapers and magazines,² but I could only find one full review in a Joyce-studies journal—Michael Patrick Gillespie’s in the <em>JJQ</em>, and that does not even consider the book individually but groups it with “a lovely coffee table book,” drawing a not altogether favorable comparison with Jackson and McGinley’s endeavor.³ <em>De facto</em>, the book never made the list of standard <em>Dubliners</em> editions that Joyceans commonly employ when writing or teaching.⁴ Incidentally (and unfortunately), it is now out of print. In this note, I would like to consider why we collectively missed the major transformation of the text and the sea change this edition could have brought to our reading of <em>Dubliners</em>. My hypothesis is that the mistake happened because what this edition added to the text was perhaps more subtle than what it conspicuously purported to bring.</p> <p>That it should have been considered, in Gillespie’s terms, “a fine (if somewhat expensive) introduction” for those “unfamiliar with <em>Dubliners</em> and not particularly interested in going beyond a rudimentary understanding” (143) was perhaps to be expected, especially in the early 1990s, when many Joyce scholars, schooled in a strict structuralist examination of the text,⁵ were still wary of “extra-textuality” (141). Indeed, in their aptly subtitled “Illustrated Edition,” Jackson and McGinley assembled an impressive collection of documents that seem to come out of a treasure trove of Dublin iconography: pictures of places (postcards of buildings and street life, maps, architectural details, and floor plans) and of people (politicians, cardinals, sovereigns, singers, and writers), but also caricatures, extracts from fashion pages, advertisements, reports (from festivals to funerals), concert programs and music scores, newspaper headings, book covers, religious images, tram tickets, coins, and many others. In fact, as someone who has spent years studying and teaching <em>Dubliners</em>—and who would gladly venture “beyond a rudimentary understanding,” I have found this possibility of visualizing the materiality of Joyce’s Dublin absolutely fascinating. W","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":"138693299","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}