Academic literature on the topic 'Joyce, James, 1882-1941 Dead'
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Journal articles on the topic "Joyce, James, 1882-1941 Dead"
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Alevato do Amaral, Vitor, Elis Maria Cogo, and Eloísa Dall’Bello. "As nove vidas de um conto: as traduções de “Os mortos”, de James Joyce, em português brasileiro (1942-2018)." Gragoatá 24, no. 49 (August 27, 2019): 493–512. http://dx.doi.org/10.22409/gragoata.v24i49.34088.
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O presente artigo consiste em um estudo das nove traduções brasileiras de “Os mortos” (“The Dead”), do livro de contos Dublinenses (Dubliners, 1914), do escritor irlandês James Joyce (1882-1941). A primeira tradução desse conto foi publicada em 1942, e a última, em 2018. Esse artigo é, salvo engano, o primeiro estudo que abarca todas as traduções de “Os mortos” no Brasil, entre as que figuram em uma das cinco traduções integrais de Dublinenses (1964, 1992, 2012, 2012, 2018), as publicadas como livro (2014, 2016), a que está inserida em uma seleção (2013) e a publicada em revista (1942). Para este estudo de cunho comparativo, o autor e as autoras selecionaram passagens do texto em inglês para cotejá-las com suas traduções em português do Brasil, de modo a permitir uma leitura que ressalte o trabalho envolvido nas traduções, ilumine possibilidades de interpretação e sirva de fonte de consulta a futuros tradutores de Joyce.
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Alevato do Amaral, Vitor. "Broadening the notion of retranslation." Cadernos de Tradução 39, no. 1 (January 10, 2019): 239–59. http://dx.doi.org/10.5007/2175-7968.2019v39n1p239.
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O propósito do presente artigo é problematizar as definições correntes de retradução, através da discussão de um de seus aspectos constituintes: a limitação à mesma língua-meta para a qual determinado texto-fonte já foi traduzido. O que justifica o presente artigo é a falta de discussão teórica acerca das definições de retradução em trabalhos acadêmicos. A maioria dos estudos as toma como certas e evita a necessidade de se escapar à fascinante estabilidade que as marca. Nossa visão é a de que a retraducão também ocorre fora dos limites estabelecidos por uma única língua-meta, e, devido a isso, deve ser tratada como um conceito multilíngue. Ilustraremos nossa visão com posições teóricas, especialmente as de Antoine Berman, e com exemplos de retraduções de duas obras literárias de James Joyce (1882-1941): Dubliners [Dublinenses] (1914) e Ulysses (1922) para o francês, o alemão, o italiano, o português e o espanhol.
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Baradaran Jamili, Leila, and Razie Arshadi. "Semiology of Culture in James Joyce’s A Portrait of the Artist as a Young Man." Advances in Language and Literary Studies 9, no. 4 (August 31, 2018): 51. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.51.
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This study sheds new light on the role of city whether real or fictional in modern novel as one of the signs of man’s cultural fate. For the same reason, city is not a mere physical place, but a spatial concept. Not only has city become inseparable from man’s personal and national destiny but also one’s life continues to unfold on city’s streets. James Joyce’s (1882-1941) A Portrait of the Artist as a Young Man (A Portrait, 2000) deals with Joyce’s home, Dublin. Joyce aims to universalize and simultaneously eternalize his home through his art. Accordingly, the reader of his text is to decipher the cultural signs of Dublin to get into it. As Michael Ryan (1946-) refers to culture as the total way of life that it has multiple meanings; to understand the culture of a city, to read its meaning, one has to decipher it. Semiology, based on Roland Barthes (1915-1980), is the science of signs whose emphasis is on the interpretation of codes, signs and symbols in a particular culture. Thus, the culture of Dubliners portrayed in A Portrait can be decoded through semiology by the readers. Stephen Dedalus is one who deciphers the cultural signs such as paralysis, religion, prostitution and confession through his walking in Dublin. He considers them as nets of Dublin that he tries to escape from them.
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De Figueiredo, Mariana Luísa. "GABRIEL CONROY E O ÚLTIMO MOCINHO DO MUNDO OCIDENTAL." Revista Intertexto 8, no. 1 (April 3, 2016). http://dx.doi.org/10.18554/ri.v8i1.1067.
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Yeats, Lady Gregory e Synge escrevem sobre o passado mitológico da Irlanda e enaltecem a vida rústica enquanto James Joyce (1882-1941) disseca o cotidiano das pessoas que vivem na tumultuada Dublin da virada do século. Os camponeses são o tema de The Playboy of the Western World (1907) por Synge, mas é um engano pensar que a peça do dramaturgo nacionalista e o episódio de sua estreia no Abbey Theater estejam completamente distanciados do retrato da burguesia irlandesa e do altivo e cosmopolita no Gabriel Conroy de “The Dead”, o último e mais extenso conto da coletânea de histórias sobre os dublinenses, Dubliners (1904), incluído por Joyce na publicação quatro anos depois. O objetivo deste artigo é aproximar o conto “The Dead” e seu protagonista Gabriel Conroy da peça The Playboy of the Western World, e sua polêmica estreia, demonstrando como a peça reverbera de diferentes formas na escrita do conto de Joyce. Palavras chaves: Synge, Joyce, nacionalismo, hibridismo.
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Tiessen, Paul. "The Gender Politics of English Literary Modernism." Kinema: A Journal for Film and Audiovisual Media, April 10, 1993. http://dx.doi.org/10.15353/kinema.vi.1327.
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EISENSTEIN, JOYCE AND THE GENDER POLITICS OF ENGLISH LITERARY MODERNISM A remarkable meeting took place one November day in 1929 in Paris between two famous innovators, one in literature, the other in film: James Joyce (1882-1941) and Sergei Eisenstein (1898-1948).... The historical meeting ... took place on November 30, 1929, at 2 Square Robiac, 192 rue de Grenelle, Paris 7e, where Joyce had a flat.... As far as is known, Joyce never mentioned this meeting in writing.(1) Like other literary scholars have done in the past couple of decades, I looked first of all to the writings of novelist James Joyce and to the writings of filmmaker Sergei Eisenstein when I sought to find a ground or establish a basis for my interest in exploring the possible shared relationships -- the influences, the historical connections, the theoretical or ideological associations, the definitions and other constructed meanings...
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Musso, Carlos Guido. "Obras maestras del arte universal y la medicina: Ulysses de James Joyce (1882 -1941)." Evidencia, actualizacion en la práctica ambulatoria 14, no. 3 (October 1, 2011). http://dx.doi.org/10.51987/evidencia.v14i3.6033.
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Ventura, L. "Portrait of the artist as a sick man. Rheumatological pathography of James Joyce (1882-1941)." Reumatismo 60, no. 2 (September 12, 2011). http://dx.doi.org/10.4081/reumatismo.2008.150.
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Musso, Carlos Guido. "Obras maestras del arte universal y la medicina: Finnegans Wake de James Joyce (1882 -1941)." Evidencia, actualizacion en la práctica ambulatoria 16, no. 3 (October 1, 2013). http://dx.doi.org/10.51987/evidencia.v16i3.6181.
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Fabbri, Renato, and Luis Henrique Garcia Ferreira. "A SIMPLE TEXT ANALYTICS MODEL TO ASSIST LITERARY CRITICISM: COMPARATIVE APPROACH AND EXAMPLE ON JAMES JOYCE AGAINST SHAKESPEARE AND THE BIBLE." Revista Mundi Engenharia, Tecnologia e Gestão (ISSN: 2525-4782) 3, no. 2 (May 23, 2018). http://dx.doi.org/10.21575/25254782rmetg2018vol3n2589.
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A análise literária, crítica ou os estudos literários é um campo altamente valorizado, com revistas dedicadas e pesquisas, na maioria das vezes, dentro do escopo das humanidades. A analítica textual é um processo auxilado por computador de extração de conhecimento a partir de dados textuais. Neste artigo, descrevemos um modelo simples e genérico de análise literária assistida pela analítica textual. O método utiliza medidas estatísticas de: 1) símbolo e tamanho das frases; e 2) padronização de rede de palavras. Através da análise das componentes principais (PCA), os textos, de escolha do crítico, são observados em relação aos de Shakespeare e aos da Bíblia, tidos como referências máximas da língua inglesa. O modelo é exemplificadocom a análise dos trabalhos de James Joyce (1882-1941), um dos mais importantes escritores do século XX. Nós discutimos a consistência dessa abordagem, as razões pelas quaisevitamos outras técnicas (por exemplo, etiquetação morfossintática), potenciais adaptações e melhoras do modelo proposto, e até algumas questões levantadas sobre a obra de James Joyce, a serem investigadas como contribuições para a crítica, história e estética literária.
Dissertations / Theses on the topic "Joyce, James, 1882-1941 Dead"
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Weber, Bruno [UNESP]. "Diálogos entre literatura e cinema: um estudo sobre The Dead de James Joyce." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91523.
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James Joyce configura-se como um dos autores mais importantes do século vinte, e suas técnicas inovadoras influenciaram diversos escritores e artistas por gerações. Contudo, apesar de seu evidente prestígio no campo literário e cultural, pouco são os trabalhos versando sobre suas adaptações para o cinema. A intenção do presente estudo é de analisar os implícitos sexuais marcados no conto Os Mortos de James Joyce e sua representação na adaptação cinematográfica de John Huston, de 1987. Será levado em conta, como abordagem teórica, as questões levantadas por Seymour Chatman e David Bordwell a respeito das relações existentes entre literatura e cinema, tais quais o narrador literário e cinematográfico. Segundo Chatman essas questões são de essencial importância para o estudo das relações entre os dois meios, porque possibilitam uma abordagem não baseada no biografismo. Também serão levados em consideração os trabalhos de Linda Hutcheon (Theory of adapatation, 2006) e de Robert Stam (Literature and film: a guide to the theory and practice of film adaptation, 2005) acerca da teoria da adaptação, teoria desenvolvida ao longo dos últimos trabalhos desses autores. O estudo, considerando tais argumentos, examinará um possível significado dessas relações sexuais implícitas no conto e em sua adaptação. Os Mortos compõe o último conto da coletânia intitulada Dubliners, de James Joyce, publicada em 1914
James Joyce is one of the most important twentieth century authors, and his cutting edge techniques influenced many authors and artists from his and subsequent generations. However, in spite of his prominent prestige on literary and cultural grounds, few works study the adaptation of his texts to cinema. The objective of this study is to analyze implicit sexual relations in Joyce’s The Dead and in its representation in John Huston’s cinematographic adaptation, 1987. This work will consider, as theoretical approach, the issues raised by Seymour Chatman and David Bordwell about the relation between literature and films, such as the literary and the cinematographic narrator. According to Chatman (1990) this questions are fundamental for this type of study due to the fact that they allow an approach not based on pure author’s biography. This study will also take into account Linda Hutcheon’s Theory of adaptation (2006) and Robert Stam’s Literature and film: a guide to the theory and practice of film adaptation (2005) about the theory of adaptation, theory developed throughout these two author’s last works In addition to that, this study will consider one way of regarding these implicit sexual relations in the short story and in its adaptation to the cinema. The Dead is the last short story from the collection entitled Dubliners, by James Joyce, 1914
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Rainville-Duech, Lorie-Anne. "James joyce : ecritures du corps dans dubliners." Paris 3, 2000. http://www.theses.fr/2000PA030152.
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Le corps en tant qu'objet litteraire offre un champ d'application riche et divers, particulierement chez joyce. Si ulysses est explicitement designe comme une epopee du corps humain, dubliners contient deja les signes d'un interet profond pour le corps, ce corps que joyce considerait comme << a new province of material >>. C'est a l'exploration de cette terra incognito, que nous convie cette etude qui fournit des clefs de lecture permettant de mettre a jour la reelle complexite de la premiere uvre en prose de joyce. L'etude du corps dans dubliners pose la question de la constitution de l'identite a partir du visage, du fonctionnement du corps lorsque l'organique se confond avec la mecanique ainsi que la question des dereglements du corps qui sont les symptomes de conflits psychiques. Ainsi, comme l'ecriture, le corps est a la fois surface et profondeur, sorte de point de rencontre ou s'exerce le jeu du langage. Ecriture avant tout insidieuse ou l'uvre dissimule une complexite derriere une facade de simplicite. Ecriture parodique ou l'uvre renvoie a sa propre ecriture : certains moments paraissent etre des reecritures d'autres moments du recueil. Ecriture minutieuse ou fourmillentles details, l'uvre cree tout un systeme de reflets et d'echos. A l'image du corps, dubliners pose donc la question des rapports entre le tout et ses parties - question fondamentale dans cette ~uvre dont l'elucidation passe par la reconnaissance de son systeme de symetrie et d'entrecroisements, meticuleusement voulu par joyce.
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Bidenne, Daniel. "Les langues étrangères dans Ulysses de James Joyce." Lille 3, 1999. http://www.theses.fr/1999LIL30018.
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Ce travail étudie les fonctions des langues étrangères dans Ulysses en ayant recours essentiellement à des démarches liées à la linguistique et à la psychanalyse, et à des travaux qui sont au confluent de ces deux disciplines, comme ceux de Julia Kristeva. L'étude se fait en deux étapes : une première, consacrée surtout à une analyse de chacun des épisodes ; une seconde, qui est une synthèse des éléments essentiels de la première ainsi qu'une réflexion sur l'utilisation des langues étrangères. On en vient ainsi à montrer que les langues étrangères fournissent une grille de lecture ne laissant échapper aucun des termes importants de Ulysses, ni ceux particuliers à l'esthétique générale ou joycienne, tout en gardant une spécificité qui ne saurait être réduite à cette fonction. On remarque par ailleurs que les langues étrangères se font de plus en plus présentes entre le début et la fin du roman, signalant ainsi une ouverture progressive à l'altérité ; que la variation de l'importance des langues étrangères les unes par rapport aux autres souligne un changement de monde culturel. Il apparaît en outre qu'un élément déterminant dans la dynamique de l'écriture de Joyce est la relation ambivalente de celui-ci avec les langues (étrangères et maternelle). C'est en partant de cette idée d'ambivalence qu'est abordée la question de la traduction, qui permet d'éclairer le fait que le désir de communication n'est pas nécessairement la meilleure façon d'aborder la littérature
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Giovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses." Dijon, 1990. http://www.theses.fr/1990DIJOL003.
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Chyi, Songling. "Les traductions françaises et chinoises d'Ulysses de James Joyce." Paris 3, 2005. http://www.theses.fr/2005PA030049.
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Ce travail compare les traductions françaises et chinoises d'Ulysses de James Joyce, ayant essentiellement des démarches éthiques et poétiques d'Antoine Berman pour la critique de traductions, associées à des thèses exposées dans l'article " La tâche du traducteur " de Walter Benjamin. L'étude, à partir d'une synthèse des éléments étrangers et étranges relevés dans une grille de lecture des textes original et traduits, suppose que la dynamique de l'écriture joycienne vise la pluralité, une ouverture progressive à l'altérité qui est l'enjeu de sa survie, que le désir de communication ne soit pas nécessairement la meilleure façon d'aborder la littérature. De là, peut-on encore parler d'une bonne traduction d'Ulysses par un critère absolu qu'est le " même sens " ? D'où vient la position déterminante du traducteur, si son désir d'aller vers l'Autre ne serait pas déjà refoulé par le dilemme fidélité/trahisonThis research project compares French and Chinese translations of James Joyce's Ulysses, applying to the ethical and poetic approaches of Antoine Berman to translation criticism, and the arguments of Walter Benjamin in his article " The Task of the Translator ". Started with the foreign and strange elements raised in a detailed reading of Ulysses and its translations, we propose that the desire of communication is not necessarily the best way to deal with literature, since the dynamic writing of Joyce is open gradually to plurality, to otherness, which is the sign of its own survival. From that, could we still talk about a good translation of Ulysses with an absolute criterion, " the same meaning "? We see that the role of the translator is determinant if his desire to otherness is not already driven back by the dilemma of faithfulness/infidelity
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Barron, Graham. "The self in conversation : James Joyce's Ulysses." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60607.
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Following and at times reworking the relation between language, society and selfhood in the antifoundationalist philosophies of Charles Taylor and Richard Rorty, the thesis develops the idea of the novel as a kind of conversation. The thesis takes James Joyce's Ulysses as a progression of thought and style in which its three principal characters, Stephen Dedalus, Leopold Bloom and Molly Bloom, expound their views and then lapse into silence as part of an ongoing conversation. Three episodic conversations in particular are discussed: for Stephen, Scylla and Charybdis; for Bloom, Cyclops; and for Molly, Penelope. These conversations, it is suggested, parallel Joyce's evolving novelistic theories, and mark a movement from a metaphysical, to a scientized, and eventually to an ironist understanding of selfhood and society.
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Medeiros, Silvio. "A modernidade em Joyce : tradição e ruptura." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253558.
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Orientador: Joaquim Brasil Fontes JuniorTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A proposta dessa tese de doutoramento é mostrar de que forma a imaginação literária pode nos auxiliar na compreensão da realidade histórica contemporânea, marcada por profundas rupturas e transformações na ordem das coisas, e que emerge fazendo tábua rasa de seus legados culturais. A partir do desenvolvimento de um estudo intertextual em torno de três obras da literatura ocidental; a Odisséia de Homero, a Eneida de VirgíTio e o Ulisses de James Joyce, procuramos estabelecer uma tensão entre as poéticas antiga e moderna para refietirmos sobre a falta de verdades estáveis na modernidade, cuja ênfase é depositar cada vez maior peso no pensamento sobre o futuro considerando-o como dinâmico o superior ao passado, o que torna o vasto quadro das experiências passadas em si mesmo obsoleto, decretando dessa maneira o esquecimento da própria memória. Assim, visando uma reflexão significativa sobre o nosso tempo, construímos um jogo intertextual a demandar um núcleo: a desorientaçâo do homem moderno num mundo onde a tradição cultural tende a diluir-se. O resultado desse estudo permite que venhamos a estabelecer um diálogo complexo entre discursos poéticos e filosóficos, fazendo com que a Literatura e a Filosofia figurem como preocupações-chaves no pensamento contemporâneo, para somar forças contra o lado obscuro da modernidade. Nesse sentido, o Ulisses de Joyce, texto que se inscreve no modelo da poesia épica helênica, conquanto apresente uma sucessão vertiginosa de estilos e movimentos, servirá para exemplificar a insatisfação da palavra poética moderna empenhada em sobrepor-se às limitações da realidade
Abstract: The aim of this doctorate thesis is to show in what way literary imagination may help us to understand contemporary historic reality, which is marked by deep ruptures and transformations in the order of things and which emerges making tabula rasa of its cultural heritage. An intertextual study of three works of occidental literature, Homer's Odyssey, Virgile's Aeneid, and James Joyce's Ulysses seeks to establish a tension between the old and the new poetics in order to reflect about the lack of stable truths in modernism, which emphasis lies in putting an each time major weight on thinking about the future, considering it as being dynamic and superior to the past, which turns the wide range of past experiences obsolete in itself, declaring the disremembering of the proper memory. Thus, aiming toward a significant reflection on our time, we are building an intertextual game pointing to a core: the disorientation of modern man in a world where cultural tradition tends to dilute itself. The result of this study allows us to establish a complex dialogue among poetical and philosophical discourses, turning Literature and Philosophy into key issues of contemporary thinking in order to increase strength against the dark side of modernism. In this sense, Joyce's Ulysses, a text which follows the model of Hellenistic epical poetics, since it presents a vertiginous succession of diferent styles and movements, serves as an example of the dissatisfaction of the modern poetic word in attempting to superpose itself to the limits of reality
Doutorado
Filosofia e História da Educação
Doutor em Educação
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Fourer, Chantal. "James Joyce, de "Dubliners" à "Ulysses" : modernité du baroque." Limoges, 1993. http://www.theses.fr/1993LIMO0505.
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La these se propose de montrer que l'oeuvre de joyce emprunte, consciemment et inconsciemment, a l'esthetique et aux pratiques artistiques du baroque en les renouvelant les modernisant. Le baroque euphemise, proche des origines du mouvement, a l'expression quelque peu balbutiante des nouvelles de dubliners, puis le baroque proliferant et "distancie", post-moderniste avant l'heure de ulysses informent l'oeuvre dans son ensemble. Est toutefois exclus de notre etude finnegan's wake qui exacerbe et complexifie la vision baroque en explorant de vertigineux abimes linguistiques et mythiques. Dans ulysses, mais aussi dans giacomo joyce ou les poemes de chamber music, joyce propose impose le depassement, la subversion du langage et de la vision classique, en une demarche qui calque et prend ses distances avec celle des poetes francais du 17e siecle, des musiciens baroques, ou des architectes espagnols, en integrant les techniques et les images de la modernite. Son choix de certaines figures mythiques, son usage des effets de miroirs et de trompe-l'oeil, son retour a la metaphore-anamorphose puisent aux sources du baroque et le renouvellement, sur le mode ludique et parodique. Un vaste panorama mythographique, entrelacant figures ornementales et masques emblematiques de vie et de mort, laisse emerger la figure d'un eros baroque du 20e siecle. Unifiant ainsi la tradition et la novation, annoncant a bien des egards les visions et le techniques de la litterature post-moderne de france ou des ameriquesThrough baroque art appeared in specific historical conditions, modern critics consider that the baroque vision and baroque forms of expression have outlived the conditions of their birth. Joyce's work may be interpreted in the light of that enduring tradition. It seems to derive from the baroque aesthetics, to renew, to modernize it. The shor-stories of dubliners evolve from a euphemized baroque to more ornemental forms, which are turned in ulysses into a monstrous proliferation of figures and situations. The world of ulysses, as well as that of chamber music, and even giacomo joyce is a world of games of displacement, mirror effects, labyrinthine quests, illusory devices, make-believe, etc. . . Joyce's work transcends its origins. Subverts both classical language and classical vision. A whole network of mythic figures, embedding ornemental and emblematic masks of life and death (including the dominant one of eros), structures and unifies joyces's work. As a tentative of synthetic unification, ulysses establishes a link between tradition and renewed visions, foretelling the linguistic and stylistic experimentations of finnegan's wake and post-modernist literature
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Butts, Gerald Michael. "Between two roaring worlds : personal identity in James Joyce's Ulysses." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29770.
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When I first encountered James Joyce's Ulysses, at the age of sixteen, I was predictably unprepared for the book. Its shifts in narrative voice, extensive use of stream of consciousness, and ostensible disorder make the book a daunting task for the first time reader. Fortunately, my age allowed me to consign my lack of understanding to naivete, rather than, as did many early critics, to authorial deficiencies. In addition to my ignorance regarding Ulysses itself, I was completely unaware of the extensive critical debates surrounding its myriad aspects, from the supposed "communion" between Stephen and Bloom in "Ithaca" to the fact that the very edition I was reading (the Gabler text) was the source of considerable controversy in the Joycean community.Having experienced frustrations common to many readers of the book, I can understand why so many readers "give up" on Ulysses. Obviously, I was drawn back to the book, but by neither its encyclopaedic nature, nor the various games it plays with literary traditions, nor any other "technical" aspect of the author's virtuosity; I was, of course, ignorant to these features. Rather, I found---and continue to find---Ulysses an extremely compelling work of art because of the manner in which it seems to be energized with "warm fullblooded life," in the words of Bloom. The impressive extent to which Joyce has successfully created ostensibly real human beings is both remarkable and often remarked upon. Less well documented are the underlying philosophical assumptions which inform Joyce's meticulous method of characterization. The present study of Ulysses aims to uncover these assumptions.
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Ungar, Andras. "The epic of the Irish nation state : history and genre in James Joyce's Ulysses." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39443.
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This study examines Ulysses as a response to the Irish Literary Revival's expectation that a native epic would crown Ireland's literary achievements and to the country's imminent independence under the Sinn Fein.Ulysses thematizes the compositional imperatives which Virgil's Aeneid made canonical for the national epic. This perspective reconfigures the legacy of Stephen Dedalus' heroic stance in A Portrait of the Artist as a Young Man and Arthur Griffith's arguments in The Resurrection of Hungary: A Parallel for Ireland (1904) through which Sinn Fein won national prominence.
Through Stephen's encounter with Leopold Bloom, Ulysses substitutes its own account of the origin and future of the modern Irish polity. The "Telemachiad" redefines Stephen the epic poet as an epic character. Bloom's family history, including the characterization of Milly, supplants Griffith's founding myth with a more comprehensive historical vision. Through this concern with the genre and history, Ulysses reconstitutes the national epic's traditional discursive domain.
Books on the topic "Joyce, James, 1882-1941 Dead"
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Dead city: A modern riff on Joyce's Ulysses. New York: Samuel French, 2008.
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James Joyce. New York: St. Martin's Press, 1992.
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Startup, Frank. James Joyce. London: Hodder & Stoughton, 2001.
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Harold, Bloom, ed. James Joyce's Dubliners. New York: Chelsea House, 1988.
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Harold, Bloom, ed. James Joyce. Philadelphia: Chelsea House, 2003.
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Derek, Attridge, ed. The Cambridge companion to James Joyce. Cambridge: Cambridge University Press, 1997.
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Blades, John. James Joyce, A portrait of the artist as a young man. London, England: Penguin Books, 1991.
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James Joyce's Ulysses. New York: St. Martin's Press, 1992.
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Sydney, Bolt, ed. A preface to Joyce. 2nd ed. Harlow, England: Longman, 2000.
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1913-, Kershner R. B., ed. Cultural studies of James Joyce. Amsterdam: Rodopi, 2003.
Find full textBook chapters on the topic "Joyce, James, 1882-1941 Dead"
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McEwan, Neil. "James Joyce 1882–1941." In The Twentieth Century (1900–present), 269–90. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20151-8_24.
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Faux, R. B. "James Joyce 1882–1941." In Encyclopedia of Creativity, 10–13. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00129-1.
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Rabaté, Jean-Michel. "James Joyce (1882-1941): Theories of Literature." In Introducing Literary Theories, 673–80. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-087.
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Butler, Christopher. "James Joyce (1882–1941): Modernism and language." In The Cambridge Companion to European Novelists, 361–77. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.023.
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