31 Matching Annotations
  1. Mar 2018
    1. We are concerned with the film ver- sion of James Joyce's Ulysses not as if the novel did not exist. We are concerned rather with what has happened in the proc- ess of transforming the novel into a film, that is, with the kind of interpretation of the novel the film offers after making neces- sitated choic

      Point of the article: looking at the film adaptation of the novel.

  2. 0-www.jstor.org.library.ucc.ie.ucc.idm.oclc.org 0-www.jstor.org.library.ucc.ie.ucc.idm.oclc.org
    1. Cleo Hanaway examines the intertextual use of film in Ulysses. Was the author attracted to film by its objectivity, as David Trotter argues in Cinema and Modernism (2007), or rather, as she claims, by its “ability to blur the subjectiv-ity/objectivity binary”(122)? Hanaway is convincing when she discusses the three forms of filmic allusions in Ulysses: parody, illustration and emulation. In “Nausicaa,” Joyce parodies the voyeuristic nature of early erotic films;

      Must look into Cleo Hanaway's work -- clearly points to the voyeurism in Nausicaa

    2. Her study focuses on films from the 1890s to 1904. They show scenes that display what she calls in the title “the erotics of everyday life” (43). A common element in these films is the “accidental” display of legs and stockings by means of a close-up. Mullin establishes a cinematographic connection between the Mutoscope and Bloom’s voyeurism throughout Ulysses.

      Very important, also alludes to voyeurism argument.

    3. Katherine Mullin, Maria DiBattista and Philip Sicker share the idea that “Circe” is the most cinematographic episode that Joyce wrote.

      Good start. Wrong Chapter though, but evidence that Joyce has a cinematographic style elsewhere in the novel.

  3. Feb 2018
    1. nes's Joyce: Feminism/Post/Colonialism. Jones's introductory essay argues that Joyce creates a liminal space of culture difference?the space of hybridity and colonial ambiva lence?from which the repressed other can speak. If

      Interesting argument. It ties in with my possible idea of observing language as a postcolonial aspect in Joyce's work.

    2. ominant language

      Dominant in terms of frequency?

    3. While it makes sense to consider Joyce's "broken English" within the framework of "minority discourse"?

      I'm not sure if I agree with the use of minority here, considering that linguistics never organizes language in a hierarchy, but rather horizontal order.

    4. The critic's role is to help readers and culture more generally to work through both kinds of trauma: the historical trau ma of Irish history encoded in Joyce's texts and the trauma of literary history enacted in their reception. Joyce's work, in this reading, becomes a ghost story, and the critic as psychoanalyst helps us to hear and cope with the voices of the dead

      I like how Wollaeger refers to Boheemen-Saaf's criticism as a medium for observing Ireland's history through Joyce's writing.

    5. epresentative in this context are van Boheemen-Saaf's Joyce, Derrida, Lacan, and the Trauma of History and Jones's Joyce: Feminism/Post/Colonialism. C

      Will need to look into these resources as well.

    6. Emer Nolan's James Joyce and Nationalism (London: Routledge Publishers, 1995) is one of the best of these. See also James Fairhall, James Joyce and the Question of History (Cambridge: Cambridge Univ. Press, 1993); Luke Gibbons, "'Have You No Homes to Go to?': James Joyce and the Politics of Paralysis," Semicolonial Joyce (pp. 150-71); and Maria Tymoczko, T

      Very good sources to look into that relate to post-colonialism and its simpler examples in Joyce's texts.

    7. Lloyd is additionally sensitive to the problem of transferability and for that reason proposes adulteration as a more appropriate trope than hybridization.

      A very interesting approach. I will need to look into Lloyd's Anomalous States.

    8. n the Subaltern Speak?

      I have Enda Duffy's The Subaltern Ulysses from UCC Library. I intend to look for possible arguments or thesis ideas in his works, and perhaps I can see if there is a connection here between Wollaeger's mention of Spivak's subaltern argument.

    9. rst, it seems tonally out of key with Ulysse

      Agreed. I'm interested to see if I can also argue against this parallel in his work.

    10. Arguing that Joyce's formal innovations carry a conjectural, proleptic force that creates new possibilities for postcolonial subjec tivity, Duffy sometimes disavows the bomb trope but always returns to it in one form or another.

      I'll look for this.

    11. Duffy's The Subaltern "Ulysses" an

      Bingo. I'll be looking for additional points/context in my copy.

    12. The politi cal implications of the linguistic experimentation of both Joyce and Rushdie appear obvious," M. Keith Booker writes in a 1991 article, "especially when viewed through the eyes of Bakhtin."25 That depends, of course, on what kind of vision one attributes to Bakhtin, and in this early foray into Joyce's postcoloniality, Booker uses Bakhtin to make an aesthetic claim look like an historical one. When Colin MacCabe described Joyce as "the very prototype of the post colonial artist" in 1988, he wished to draw attention not only to the potential political valence of Joyce's "broken English" but also to Joyce's role as producer of Irish colonial experience for consumption by the imperial metropolis, a historical locatedness nowhere ad dressed in Booker's comparison of Rushdie and Joyce.26 The material grounding of "linguistic decolonization," in such a reading, is ulti mately attenuated beyond recovery.2

      This passage looks more closely at language, and its connection to post-colonialism, which is another area of interest.

    13. . If this argument has the virtue of explaining why the novel is the privileged genre of postcolonial studies,24 it also casts light on Joyce's overdeter mined availability as an icon of postcolonial subversion.

      This seems to support the idea that Ulysses isn't a typical post-colonial novel, and how it can be easily be labelled as such, and perhaps even undeservingly so?

    14. Exaggerations and schematizations, moreover, may obscure the subtler ways in which Joyce's texts have participated in Irish political history?through, for instance, the invention of cosmopolitan identi ties that became materially important during Ireland's decoloniza tion. As Alan Liu has observed in a critique of cultural criticism, "an ideological subject 'contained' in history-as-representational-struc ture" differs from "a principle of action contained in politics-as-regu lated-activity."19 A direct correlation between the deconstruction of binary oppositions and the subversion of political authority should not simply be assumed

      Here, Wollaeger mentions subtler ways in which Joyce refers to a post-colonial Ireland.

    15. The trope that translates most effectively between critical domains is center/periphery, in which rhetorical reversibility can be correlated with the historical interplay of specific metropolitan and colonial discourses as well as with the shuttling of bodies between empire and colony.

      Thesis idea/possible sub-argument: Using the "hybridity" trope, or the relation to centre/periphery as mentioned here, to Joyce's lesser-known works, such as Exiles to see if it applies.

    16. here are at least two ways in which preex isting developments in Joyce criticism have contributed to a dehis toricized appropriation of a body of theory that is already in danger of severing its own historical roots. One is the poststructuralist emphasis on Joyce's deconstruction of binary oppositions; the other is the assimilation of M, M. Bakhtin's theory of the novel into Joyce studies.17

      This is an interesting idea: it explains more closely the ways in which a gap is created between Joyce's work and literary criticism/theories.

    17. . With Ireland, however, racial similarity and geographic proximity produced a need to push the Irish away by transforming them into racial others, and the reception of Darwinism, as L. P. Curtis first showed, gave the English a way of locating Celtic peoples alongside Africans and not far from apes on the hierarchical ly ordered racial tree of humanity11 Such Africanizing of the Irish is, of course, an important context for much Irish literature, and Cheng's Joyce, Race, and Empire reads racial stereotyping in Joyce in light of the research of Curtis and others and through the lens of postcolonial the ory.

      This is a key passage that allows Wollaeger to align Ireland with a more traditional view of post-colonialism. Definitely an important supporting argument, and would be very useful to allude to in a thesis regarding the matter.

    18. Homi Bhabha'

      It would be a good idea to look into Bhabha's post-colonial works and theories to further understand the criticism, with the end-goal of applying his theories to Joyce's texts.

    19. t their power to differentiate among diverse cultural phenomena. To what extent can models of postcoloniality derived from post-World War II African or Anglo Indian literature be mapped onto early-century decolonization in Ireland?

      Research question: how post colonial criticism applies to more "modern" texts like Joyce.

    20. hat makes for problems, though, is that the gov erning critical tropes in postcolonial criticism can seem excessively abstracted from the cultural and historical materials under discus sion,

      It's interesting that Wollaeger found a gap or detachment between postcolonial jargon and Joyce's text.

    21. It is precisely this sustained engagement with material history that tends to get lost in theoretically informed postcolonial criticism of Joyce

      Interesting idea.

    22. tropical mod

      Both the analytic and tropical modes are a bit abstract and unclear.

    23. poststruc turalist insight

      Link to an overview of poststructuralism to refresh my memory.

    24. I am not concerned here to enter into debates about whether Joyce shoidd be considered a postcolonial writer nor whether Ireland can properly be located under the increasingly capacious umbrella of the postcolonial.4

      It's interesting to me that there is a gray area surrounding Joyce as a postcolonial writer, in comparison to more traditional postcolonial authors, like Salman Rushdie or post-colonial theorist, Frantz Fanon.

    25. y, I will take up representative texts in order to suggest how criticism might begin to de-routinize its protocols and revivify the dead and dying metaphors that often govern postcolonial discourse.

      End-goal of the article. I will need to look into postcolonial dialect to further understand his point.

    26. More particularly, I argue that specific qualities of Joyce's work and several preexisting trends in Joyce criti cism have made it possible for critics to re-dress a familiar Joyce in the vestments of postcoloniality without seriously engaging Irish history or substantially revising longstanding perspectives on Joyce as a high-modernist innovator.


    27. Nor do I wish to worry over whether characterizing Joyce as a postcolonial writer threatens to silence the voices of less canonical postcolonial writers, since that fear seems to me to depend on the false assumption that canonization is a zero sum game.

      Again, it's interesting that Wollaeger, and likely other Joyce scholars, is treading on a fine-line between stating that he is a post-colonial writer without trying to offend more established writers of the genre.