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EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
EN2012: Dislocation and Exile in James Joyce's Ulysses
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EN2012: Dislocation and Exile in James Joyce's Ulysses

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Lecture slides for students studying EN2014 Modernism at Brunel University.

Lecture slides for students studying EN2014 Modernism at Brunel University.

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  • We’ll start by taking into account your own initial reactions. I want you to write down (and this is just for your notes) how you reacted to the reading this week. Did you feel overwhelmed? Frustrated? Bemused? Scandalized? As I’ve sais, Ulysses inspires fear as much as admiration for new readers, so how should you approach it? Harry Levin’s declaration in 1941 that Ulysses is “novel to end all novels” echoes the once idealistic, later ironically inaccurate catchphrase describing the First World War as “the war to end all wards”. In supposedly “ending” the novel, Joyce is seen as marking the culmination of the novel as it had developed over the 19 th century and opening up the possibility of what the novel could be in the modernist era and indeed as many have argued since, the postmodernist age too. It is also “a novel to end all novels” in the sense that it seems in one text to do what we might only reasonably expect from a whole collection of novels. As Jeri Johnson points out in her groundbreaking introduction to the Oxford edition, in both form and style Ulysses influenced Joyce’s modernist contemporaries such as Ezra Pound, T.S. Eliot and Virginia Woolf as well as those later modernists Samuel Beckett and Dylan Thomas and more contemporary writers including Salman Rushdie and Umberto Eco. Try to think then how this work fits into this module, the writers we’ve already considered and those still to come. Once you have read, or at least tried to read Ulysses , you have opened up your reading experience to a lifetime of Joycean recognition. As Johnson puts it, this is not limited to literature; on television, film and in advertising we are surrounded by the “montage, open-ended narrative, pastiche, parody, multiple viewpoint, neologism” (ix) which sprung forth from the pages of this perplexing book. Yet since a “novel” is just that, something new and novel, this might be described as the most novel-like novel there has ever been! Or even that Ulysses might equally be considered an “Anti-novel”
  • Transcript

    • 1. claire.lynch@brunel.ac.uk Dr Claire Lynch,Dislocation and Exile in James Joyce’s Ulysses
    • 2. “a novel to end all novels”?
    • 3. b. 2nd February 1882, Dublin. Eldest of ten children surviving children of May Murray and John Joyce. Educated at Clongowes Wood and Belvedere Colleges before entering the Royal University in 1898 As an adult, left Ireland and lived in Italy, Switzerland and France with wife Nora Barnacle and their two children. Died 13th January 1941. Buried in Zürich.“Where do you begin in this?”
    • 4. “the literature of the latrine” “pornography” “a telephone directory” “impossible to read”“chaos” “incoherent”
    • 5. Censorship &Publication
    • 6. “I’ve put in so many enigmasand puzzles that it will keep the professors busy for centuries arguing over what I meant”
    • 7. “step toward making the modernworld possible for art”T.S. Eliot “Joyce’s characters not only speak their own language, but they think their own language” Ezra Pound
    • 8. “Ulysses looked like a novel, but it also looked like drama, or catechism, or poetry, or music depending on which page one happened to open” (Johnson, xiii)
    • 9. Charles Stewart Parnell andIrish Home Rule
    • 10. Joyce in Europe
    • 11. Style over substance?
    • 12. The Gilbert SchemaTitle Calypso IthacaScene The House The HouseHour 8am 2amOrgan Kidney SkeletonArt Economics ScienceColour OrangeSymbol Nymph CometsTechnic Narrative (mature) Catechism (impersonal)Correspondence Calypso; The Nymph; Eurymachus: Boylan;s The Recall: Dlugascz; Suitors: scruples; Bow: Ithaca: Zion. reason
    • 13. The Linati SchemaTitle Calypso IthacaHour 8-9 1-2Colour orange Starry milkyPersons Calypso (Penelope wife) Ulysses Telemachus Ulysses Callidike Eurycleia The SuitorsTechnic Dialogue for 2 Soliloquy Dialogue Pacified style, FusionScience, Art MythologySense (Meaning) The Departing Wayfarer Armed HopeOrgan Kidneys JuicesSymbol Vagina, Exile, Kin, Nymph, Israel in captivity
    • 14. “Calypso”
    • 15. “Ithaca”
    • 16. 16 June 1904 th
    • 17. James Joyce Podcasts and Resources• http://www.jamesjoyce.ie/• http://www.ucd.ie/scholarcast/scholarcast4.html• http://www.ucd.ie/scholarcast/scholarcast13.html• http://www.utulsa.edu/jjq/default.htm Mknao!

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